I Am My Things and My Things Are Me
Artist Allison Tierney
Exhibition Dates: January 13 – March 12, 2020
Wednesday, February 5, 3:30 p.m. – Tate Hall
Wednesday, February 5, 5:00 p.m. – Ross Gallery
“My work relies heavily on painting and a decorative aesthetic to discover personal identity, comment on consumerism, and investigate the divide between craft and art.
I utilize interpretations of the home and interior design approaches as a means to explore identity. I’m interested in people’s relationships to the objects they put on display and how a sense of self is curated and refined through both the things we keep and those we let go of. As someone who finds comfort in my possessions I value the variety that mass-production affords me while at the same time feel great conflict in my role in consumer culture and its effect on the environment.
Repurposing is a consistent thread found throughout my work. It allows me a way to sort through the guilt I feel when an object is to be thrown away, whether by being rendered obsolete or simply being unwanted. I feel sympathy for these objects and a responsibility to be conscious about their disposal regardless of whether or not they were originally mine. The making of these pieces offer objects a second chance and a sense of being while acknowledging the contradictory role I play as a consumer and a maker. Through their creation, I enact control over common household objects and force them to transform and meld into colorful, encouraging, and optimistic works of art.
My work is an act of rebellion, albeit a personal one, to our mass-produced world. It’s a way to value the value-less.” – Allison Tierney
Allison Tierney (b. 1987, Charleston SC) is a visual artist living and
working in Chapel Hill, NC. She received her BFA from Winthrop University and
her MFA from UNC Chapel Hill where she won the Top Prize for Outstanding
MFA Work. She is one of six founding members of Subverbal Art Collective and
has exhibited work throughout the southeast. Her work can be viewed as two
distinct but closely related bodies. One body relying heavily on painting and the
history of abstraction to respond to found objects while the other employs the
techniques of various crafts as a means to discover personal identity, to
comment on consumerism, and to investigate the divide between craft and art.
Structure and Void
Thursday, January 30, 3:30 p.m. – Tate Hall
Thursday, January 30, 5:30 – 7:30 p.m. – Overcash Gallery
“Structure and Void” is an investigation into surface, structure, and systematized randomness. The work re-presents patterns from nature in organic forms and fluid surfaces. Those forms are deconstructed into cellular elements, and reconstructed in a variety of materials using generative software and digital fabrication techniques.” – Richard Elaver
“Writing code to grow objects.
My work is inspired by forms in nature and developed through digital fabrication. It brings together my past professional experiences in jewelry-making and product-design, combining elements of handcraft, design, and architecture to create sculptural forms. Those forms are sometimes purely aesthetic, sometimes wearable, and sometimes functional.
The Wripple series, in particular, is an investigation into surface and structure, randomness supported by logic. The outward surface ripples like water, composed of a collection of unique shapes that resemble tissue cells, all supported by analytical armatures made from straight lines and acute angles. The materials and construction suggest architectural models, just as the cellular pattern and wavy surface hint at the natural world. It is really the pairing of those two worlds that keeps things interesting, vascilating between rational and irrational.
Similarly, the vase series, ‘Dissolving Tiffany’, is also a mixing of two worlds: one historical and handmade, the other contemporary and digitally assisted. Beginning with the forms of handmade historical Tiffany vases, those forms are deconstructed into cellular patterns using generative software. The final objects are created with a combination of handcraft and digital fabrication techniques. The exterior form adheres to history, supported by a random angular composition of hollow cells.” – Richard Elaver
Richard Elaver is a designer and metalsmith working in the overlapping spheres
of art, design, and technology. In his work, Elaver integrates the tools of
industrial design with the craft of metalsmithing. He develops computer
simulations of biological phenomena, and uses them to create design objects.
Elaver received his Bachelors degree from the University of Wisconsin at
Madison, and his MFA from the Cranbrook Academy of Art. In 2006, he
completed a Fulbright Fellowship in the Netherlands where he worked with
Droog Design. Following several years of professional experience both as a
jeweler and industrial designer, he is now an Assistant Professor of Industrial
Design at Appalachian State University in Boone, North Carolina.
“Get To Know Prints”
Saturday, February 22, 2020
Students, reserve your spots now! Space is limited!
Goals of the workshop: Learn how to accurately ID print mediums/media/techniques, through demo in the morning; then valuing those prints in the afternoon.
Timeline of Workshop:
8:30 a.m. – coffee and donuts
9 a.m. – 12 p.m. – demonstration of prints by Nancy Drieth
12 – 1:30 p.m. – Lunch Break
1:30 – 5:00 p.m. – Valuing Prints Lecture Series
1:30 – 2:30 p.m. – Burton Moore – Audubons and the differences in their values. What to look for, when the print must come out of the frame, red flags, etc.
2:30 – 3:30 p.m. – Cautionary tales from print appraisals, a How To guide
3:30 – 3:45 p.m. break: 15 minutes
3:45-5:00 p.m. – Print Identification. Putting our demo and lecture knowledge to the test!