October 10-28, 2016
University of Oklahoma School of Visual Art
Autumn Brown and Jasmine Jones
Paper, Acrylic, Wood
For most artists creating is a personal and vulnerable process. The final product often reflecting more than the desired result, it reflects the artist themselves. So when the artist is offering up their work they are offering up a piece of themselves. They are sacrificing the safety of isolation to give the audience something to experience. Whether one takes the artwork home or merely views it, they are still consuming an incredibly personal part of the artist. The Sacred Vessels are the physical representation of the exposure of self that the artist offers up to the audience.
The audience is invited to take a vessel home with them. A physical representation of their experience. A little piece of the artists.
Please help the artists track their vessels by posting a photo the vessel on Instagram and Facebook.
#sacredvessels #symbioticsacredvessels #symbiotic
Dan Harris, Olivia Egan, Amy Sanders
Stoneware, Porcelain, Glaze, Soda Salt
The Community Kiln collaboration matched Dan Harris with current student Olivia Egan and recent graduate Amy Sanders. Dan teaches art at Irving Middle School and ceramics at The Firehouse Arts Center. Dan was Amy’s first ceramics instructor and sparked a love of clay that profoundly changed her life. Olivia is an accomplished potter in the OU Ceramics program, and shares a sincere love of the entire ceramics process with Dan. Her genuine desire to learn and willingness to experiment with glazes and firings was a great match with Dan’s ‘anything goes’ attitude. Dan welcomed the entire team into his home to help fire his kiln, and then served up pizza to boot.
Artist: adam Lanman Students: Sterling Smith, Reva Kashikar, Rebecca Cutis
Handmade ceramic table settings, folded fabric, wood, steel, bolts
For Symbiotic I was initially inspired by the concept behind a community table. A community table is something that is ubiquitous in many cultures around the world and often symbolizes inclusiveness and cooperation. A table and the table setting are easily identified products of both a culture and its rituals and have a strong visual relationship to our understanding of that culture and community.
The tables we see however are often not the ones we are invited to be at. As artists we struggle to get into and be included in a community, many will carefully gauge their interactions and persona to become “part of”. As professionals we know that there are many tables that are far from inclusive and to “get a seat at the table” can be a long process of climbing ladders and paying dues. And what of the millions of people who go hungry around the world on a daily basis, where is their community table, where are they included? It is in this sense that the concept of the Cooperation Table came to be.
Our collaboration explored the history of table settings throughout different cultures, the history and nature of formal dining, various conceptual designs, and eventually led us to the fabrication of the cooperation table in its final state. It is our hope that you not only enjoy the work as a piece of art and design but also contemplate your own notions of cooperation and inclusiveness that are implicit in the work.
Bella Blaze and Mandy Messina
Installation and performance
In lieu of an Artist Statement:
An Anecdote on Risk, and a Thought on Curiosity and Collaboration
Mandy’s first employed position in the USA was as an After-School Attendant for children aged 3 – 6.
From that position of mentoring she learnt the following:
Children’s assessment of their appetite for risk develops much faster when you stop telling them what to do and just stand by with a first aid kit, and an incident report.
Curiosity helps mitigate the angst of uncertainties, and collaboration with one’s peers and community (both digital and geographic) are an excellent source of said uncertainties (i.e. learning opportunities).
Through equal contributions of time and labor, we've learned how to work effectively with strangers in a very short period of time. In this instance of exhibition, the art is not this object before you. The object is merely a bi-product of the true art: the process of building community. The tapestry has been an exercise in the art of collaboration, a way for our team to imagine our collective histories into a single tangible object. Through repetitive actions of improvisational weaving, strips of communally-sourced material transform from many to one. The process has given each of us a new voice, allowing us to create something collectively that none of us would have been able to make alone. This piece serves as a transcript of our time spent together, every conversation subconsciously reflected through the interplay of each twist, each knot, each strand. Making friends, instead of connections, is a way we stay strong and become a massive, closely-knitted network which continues to grow. Where are you going, where have you been? is a very pink and fun visual demonstration of collective effort, unapologetically revealing fearless experimentation of process.
Marissa Raglin and Alyssa Howery
Collage on paper
Human nature and Mother Nature. Variations represents art and community through intricacy. Working with botanical illustrations of differing shapes and colors presented within a grid-like structure symbolizes peer connectivity; our feelings of similarity and isolation. Community brings feelings of warmth and softness and is fostered in unlikely circumstances. We found community hunkered over a table with two Xacto knives, cautiously removing found imagery from books and magazines plucked from thrift stores.
The concentric rings of the cedar round communicate
connection and relationship. Each grouping of rings share
the same center. From the core of the round sprouts a
copper tree whose strength and stability comes from the
convergence of individual strands into a unified trunk.
Upwards it reaches, culminating into fruit bearing branches.
Artists in collaboration form micro communities, binding
together around a central core. Each giving the other
strength to elevate to a place where together they create,
reaping the harvest of their efforts.
Jarica Walsh and Katie Pendley
Ceramic, Paint, Paper, Steel, Wax
In developing the concept and framework for this exhibition,
we spent significant time discussing community and the
ways members of the community interact and support each
other. What makes a strong community? What about the
inner workings of the art community alone? Drawing
inspiration from beehives, we began learning about the
different roles and responsibilities within the hive, and were
especially inspired by open air hives.
Shakespeare stated, “For so work the honey bees, creatures
that by rule in nature teach the act of order to the peopled
kingdom.” Often times the most important part of a symbiotic
existence is overlooked or mistaken as trivial. So we ask,
what is community without its honey? What of the existence
of honey without the workers, drones and queen?
Curated by Jarica Walsh and Katie Pendley
Installation photos by Josh Vaughn.
Sponsorship provided by Fowler Automotive