Erin Barach (MFAST ’14) and Sarah Clough’s (MFAST ’17) “Groundwork” opens at Make Studio in Baltimore on November 4, 2016

Using very different approaches, both artists make work about the fundamental connotations of physical sensation. In this exhibition, visitors are invited to participate and question the boundaries of their optic and haptic experiences. The artists explore the concept of what is happening “below the surface”, interpreted through refracted light, semiotics, layered textures, or the ground on which we stand.

On November 4th, during First Fridays in Hampden, there will be an opening reception from 6-8pm followed by sound/musical performances from 8-10pm including Brooklyn based There Are No Thieves in This Town. The exhibition remains on view through the month of November.

Make Studio is located at 326 Keswick Rd., Baltimore, MD 21211

For more information on the artists, visit erinbarach.com and sarahcloughchambers.com.

Caitlin Albritton (MFAST ’18) reflects on her residency at the Golden Foundation

What would you do with an endless supply of paint at your disposal?

Anything and everything is possible when you have materials at your hand, which is why the Sam and Adele Golden Foundation is such a unique artist-in-residence program. Being able to spend four weeks immersed in paint really opened the doors to testing out the possibilities of acrylics (as well as oils and watercolors).

Our large studio and living spaces were located in a big red barn just across the road from their paint factory, so our first week was spent taking various 2-hour long tech classes to go over materials. For instance, there was a Grounds and Mediums tech, a Pouring tech, a Watercolor tech, as well as some extra classes on varnishing and archival practices.

After coming straight from the MFAST summer courses (where I spent most of my time working on video and other projects) to paint paradise, it was sort of shocking, relieving, and needed to go from conversations about concept and theory to conversations about beauty, materiality, and image-making. While I love being able to push my own notions of what art can be, I truly missed painting and the power images and textures have.

In the past having worked with sculpted oil paint with drying oils mixed in, my main goal of this residency was to find a way to translate the same qualities of oil paint that I love (the buttery consistency, the elasticity it has when you sculpt semi-dry paint, and the way it dries the same thickness when applied) to acrylics. But acrylics are not oils: they dry darker and thinner than when applied and have a certain plastic feel to them.

The first few weeks comprised of a lot of utter failure. It was a bit disheartening to see things take shape in the other two artist’s studios as there was no “proof” of work in mine, but I kept chugging along. I made many tests that turned into nothing, but I made it my goal to test out every single acrylic medium that Golden makes (and even many custom products too, which I didn’t even know they did). Eventually, all of the failures came together and I finally found a few solutions to my problem of converting my sculpted oil paint process over to acrylic paint, and now the possibilities seem endless! Not only does the paint dry so much faster so I can work faster, I’m loving not leaving behind a big oily mess or being consumed by oil paint fumes.

I will say that I’ve never worked with such a sense of urgency before, working usually until 3 a.m. each morning, then waking up before eight to keep the good mojo going. Though I didn’t make as many finished pieces as the other artists, I felt that I really got the most out of my time there. It seemed like it would be a waste of a residency NOT to be a mad scientist with these materials and try everything possible. I can make finished paintings anytime, but it’s not every day that you get the chance to screw around with a gallon of light molding paste just to see what would happen.

Having a solid studio practice at home is important, but it’s also good to consider how residencies have the potential to impact your practice in ways you can’t even imagine, whether it’s meeting and talking with artists, being inspired by the new landscape, or experimenting with new materials. It’s always good to find ways to shake things up in your studio practice, and the Golden Foundation definitely did that for me.

-Caitlin Albritton

Sarabel Santos Negron (MFAST ’19) featured in solo exhibition at Museo Casa Roig in Humacao, Puerto Rico

In her recent series of artworks “Between Kingdoms: Conversations about the Natural World”, Sarabel Sangros Negron explores the natural world from a biological, botanical and ecological approach. Her interest lies in evoking nature, not only in its composition or physical appearance, but also by its molecular and chemical structure. Sarabel combines drawing on paper with plastic (polyethylene or plastic bags) as a response to concerns about pollution and the excess production of this material that affects our environment.

This exhibition will be on view from October 27, 2016 through February 20, 2017 at Museo Casa Roig in Humacao, Puerto Rico.

img_0049

img_1531

Mara Pollins Costello (MFAST ’15) presents new paintings in solo exhibition

Mara Pollins Costello is interested in the universality of forms created by natural processes, particularly those of the earth and sky. Costello’s solo exhibition “Interregnum” will be on view through November 18 at the Gallery in the Scott Center, Carroll Community College. An opening reception will be held October 20 from 5:30-7:30 pm. To preview her work, visit www.marapollins.com.

ART 3 in Brooklyn presents solo exhibition of works by Brett Wallace (MFAST ’19): “If This, Then What”

If This, Then What stems from Wallace’s interest in the speed and spectacle of production and distribution systems and their impact on society. If This, Then What is a conditional statement where “This” is a hypothesis and “What” is a conclusion. It’s also a deductive reason that the speed of society may create even larger glitches and crashes than we see today.

The exhibition will be on view from October 5 – November 6, 2016 at ART 3 in Brooklyn.

An opening reception will be held on Wednesday, October 5 from 6-9 p.m. For more information on the exhibition, click here. For more on the artist, visit brettwallace.com.