CURATOR’S STATEMENT
I hope that these four selected artists
sense of displacement, re-presenting the
present an accurate cross-section of the
familiar landscapes of rural Oklahoma as
wide variety of talent and media
new and strange. Paul Bagley’s complex
submitted to the Fellowship program. The
sculptures and attendant performance,
work of all four intersperse their own real
rooted in the landscapes and rural culture
and authentic personal histories into a
of Oklahoma, also seek to universalize and
wider examination of that individual’s
re-present those places as full of rich
place in society, while at the same time
layers of metaphor and experience; both
anchoring their work in an understanding
artists drawing deep strength from their
of their locality. Lindsay Larremore and
locality while ensuring that the viewer can
Mark Zimmerman concentrate on the
fully understand the intent of the artist as
personal, both using their impressive
present within the work.
command of traditional media to actuate their examination of the relevance of the
Ben Heywood - Executive Director
personal to universal. While Zimmerman
The Soap Factory, Minneapolis, MN
takes from his own painful personal family history, Larremore uses the intensely private medium of paint to mimic the un-examined minutiae of her everyday life.
Cover Images:
Positioned as the ‘other’ in a universalized
Paul Bagley, Symbiosis, 2010, Wood, steel, incandescent
landscape of Oklahoma, Eyakem Gulilat
lights, fasteners, fabric, 9’ x 11’ x 18’
OKLAHOMA VISUAL ARTS FELLOWSHIP
uses photography to expose both his adopted home and his immigrant status,
Eyakem Gulilat, Norman, Grandfather’s Morning Prayer,
allowing the viewer to experience his
Archival inkjet print, 16” x 20”
& STUDENT AWARDS OF EXCELLENCE
• 2011 •
OVAC-OK.ORG • 405.879.2400