OPEN HOUSE: SCULPTURE
MELANIE MCGUIRE, 4, HOME SWEET HOME, MIX MEDIA, 24x32, 2021.
MELANIE MCGUIRE, 4, THE NURTURING MOTHER, MIX MEDIA, 9x12, 2021.
MELANIE MCGUIRE, 4, ALTERNATIVE USES, MIXED MEDIA, 17x17, 2019.
AMANDA SIMMONS, 4, PRYING EYES, COLLAGE, MIRROR, CONSTRUCTION PAPER, 40"X 37', NOVEMBER 4TH, 2021. This piece demonstrates the feeling of being watched and revolves around the theme of Social anxiety. Cut-outs of eyes from social media users and magazines, the audience can feel the unease of the prying eyes.
ASHLEY WETMORE-CAISSIE, 3, SELF PORTRAIT GARDEN GNOME, MIXED MEDIA SCULPTURE, DIMENSIONS (3’ x 3’ x 3’), OCTOBER 18TH 2021
ASHLEY WETMORE-CAISSIE, 3 , WEARABLE STINGERS, MIXED MEDIA SCULPTURE, 5’2’’ x 2” x 3”, NOVEMBER 8 2021
ASHLEY WETMORE-CAISSIE, 3, METAL PHOENIX, SCULPTURE OF FOUND OBJECTS, 3’10” x 2’5” x 11”, DECEMBER 6 2021
AESOOK BAE, 4, WOMAN IN HAT, SCULPTURE, 36'X18"X16", 2022
REVILL VILLANUEVA, 4, ANG MABAIT NA DUWENDE (THE KIND DWARF), CLAY AND WOOD, 19” X 12” X 9”, 2021. This is a self-portrait of the artist as a “duwende” (dwarf) that has traditional farmer outfit from the Philippines. The artwork explores the concept of how artist’s “seeds” help to encourage kindness and positive growth within the community for a better future.
MICHEL LAFONTAINE, 4, ...TO MELT. PINE WOOD, PAINT. 3'X3'X2.5'. 03.18.2022
MICHEL LAFONTAINE, 4, A DANCE, ALABASTER STONE, 8'X8'X6', 10.2021
ANDREW ABBALLE, 4, HEAVY IS THE HEAD, BRONZE AND STEEL WIRE, 8x6x9.5, 2022. This is an allegory based on the biblical narrative, the image in today's context signifies the inevitable suffering life entails and how a "crown of thorns" can take on many forms but retain the same meaning. This represents the internal and external struggles we all encounter in the face of mortality.
ANDREW ABBALLE, 4, THINGS ARE NEVER AS THEY SEEM, PORCELAIN, 8x6x9.5, 2022. "Things are not as they seem" began as a material exploration of ceramics, the deformed and melting skull begs the viewer to question not only reality as it is perceived, but also themselves and others.
ANDREW ABBALLE, 4, WHEN THE MANDATE ENDS, PORCELAIN, 8x24x9.5, 2022. A commentary on the division between unvaccinated and vaccinated Canadians. The future has yet to bear witness how this division impacts individuals in Canada and internationally; this demonstrates how the unknown variable of time can last beyond our lifetime to a time when it no longer matters.
RYLAND SEGUIN, 5, BEATING, ACRYLIC AND MODELING PASTE ON FLANNEL, 30x36, 2022. Beating is an reflection of the corrupt impact of humans upon the environment.
RYLAND SEGUIN, 5, FLOAT, ACRYLIC AND MODELING PASTE ON FLANNEL, 24x40, 2021
RYLAND SEGUIN, 5, ENGINE, ACRYLIC, MODELING PASTE AND ART SUPPLIES ON FLANNEL, 24x34, 2021
KERRY BROWNELL, 4, LIFE. INTERRUPTION. CONNECTION, APPROX. 72”x48”x204”, INSTALLATION, READYMADES, SLIDE HOLDERS, PHOTO ALBUMS, CONTINUOUS LOOP 99 SLIDE PROJECTOR, ACRYLIC ON CANVAS, 2021/2022. This explores Irish diaspora, language, memories, and archival preservation and connects to the interruption of my painting practice to care for my elderly father.
DIANA ISTRATE, 3, SYNTHETIC PHOTOSYNTHESIS, ASSEMBLAGE, 30x40x26, 2021. This is an assemblage piece inspired by our need to find alternative methods of energy consumption without harming nature. Therefore, this represents a lab experiment that wishes to harness and replicate the energy of photosynthesis by working together with nature’s energy.
SARA BURSEY, 4, SHE HUNG HERSELF, 16-GAUGE WIRE SCULPTURE, 71x23x2", 2021. A single wire, gesture-style, self-portrait that follows the contour of the artists body. The lack of head/identifying features forces viewers focus on the body simulating the artists view of herself.
NADINE CHANTAL LECLERC, 4, TOES, CERAMIC, SCREENPRINT, 21' X 60'