Soon after, Collins began to recess the wooden attachment into the surface similar to puzzle pieces. Collins found the addition of organic shapes broke down the rectilinear format of painting, creating a new tension. The panel was largely cut on a table saw yielding only straight edges. The cut panels created a shallow relief that cast shadows that created the illusion of lines. He used collage as a vehicle, painting and cutting and attaching other painted pieces of wood to the picture plane, reorganizing and repainting the pieces until he found an arrangement that was aesthetically pleasing to the artist’s eye. In so doing, she offers her wish for contemporary Iran to become a peaceful, safe place where people can thrive.Īfter 40 years of working on canvas, Jack Collins began working on wood panels in 2017. Masrour makes fun of the men in power by reducing their stature to screaming infantile creatures, while, in contrast, elevating her own. Masrour found comic books to be very popular in the United States, as opposed to Iran where they are not produced. Everyone can relate to a character or story they have seen or read in a comic book, as well as to the associated meaning. Comic books connect to people of all ages, races, and cultures. Art can be an impactful way to expose the lack of power that women have in their lives, but it can also be dangerous to the maker.Įlena Masrour has drawn inspiration from American comic books to soften the viewer’s entry into her critique. She critiques Islamic fundamentalist beliefs that control people’s life and limit their freedom. Masrour highlights these experiences from a woman’s point of view. At the core of Masrour’s concern are the injustices, hardships, and torments that innocent people in Iran are enduring. The Iranian revolution in 1978 has had an impact on Iranian women’s daily lives dramatically as well as reshaped their identities and their role in society. Masrour represents a generation of Iranian people who aspire to be modern at a time when religious leaders continue to weaponize the rules of God to maintain a stranglehold on power.Īs an Iranian woman whose life has been heavily touched by the political events of the half decades in Iran, she has focused on modern Iranian women’s issues. In addition to serving as an artist-in-residence at Baker University, she is a foundation faculty member at the Kansas City Art Institute.Įlena Masrour’s works are inspired by the proliferation of religious propaganda over the last 40 years in her home country, Iran, and social changes that have occurred following the Revolution. Louis The Delaware Contemporary Art Museum, Wilmington, Delaware and Delaware College Art Gallery, Media Pennsylvania. Louis, Missouri CICA Museum, Gimpo, South Korea Des Lee Gallery, St. Her work has been exhibited in Mildred Lane Kemper Art Museum, St. Louis and a BFA in Painting and Drawing from the University of Iowa. She holds an MFA from Washington University in St. Sia Joung is an artist who lives and works in Kansas City, Kansas. The two intertwined surfaces create a new image that is a portrait of herself. The folding on her paintings eclipse parts of her original paintings, hindering the full view. Joung’s paintings are made with materials of the Midwest (oil paints, egg tempera, and unprimed canvases) and migrated materials (hanji, Korean paper used for painting). This question branches into migration, nature, and a culture of a place. Sia questions how minorities and immigrants can value living and working in rural towns while fully belonging to the land. While living in a town in rural central Kansas for the last five years, the nature of Kansas offered a place of solace. Joung’s current project, “The Surface of Your Land,” asks a question of belonging in Kansas. Baker University Artist in Residence Sia Joung is a multidisciplinary artist working in painting and installation.
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