Through modern medicine, preservatives, polymers, hormones etc., we have, as a race, indeed, “escaped the limits of nature.” All these creations are here to improve our way of living, but at what cost? Cancer, birth defects, and most other afflictions are at an all time high. Children are developing at an accelerated rate and the world we live in becomes more unrecognizable every day. In a modern world where industry is the driving force, nature takes a back seat. This relationship between Industry and its effects on humanity and our planet is what I explore in my work. I use the contrast of industrial and oddly organic forms to draw attention to the issues that need to be addressed in the average daily life and environment.
Philadelphia based Art Wrestling Federation Urban League (AWFUL). Artists wrestling very poorly
My practice is fueled by an anticipation of the haptic. The intense paraphilic relationships I have with select materials, scenarios and garments complicate the ways in which I navigate both physical and psychic space. Translated as interactive sculpture, documented performances, writings and prototypes, these complications seek both public accessibility and analysis.
Best Case Scenario: The resulting projections qualify as inclusive masturbatory acts, but exist as something engaging and generous, notsomuch selfish.
Thomas Lauria attended the Tyler School of Art (BFA Metals/Jewelry/CAD-CAM, Sculpture 2015) at Temple University. He currently splits his time between Queens, New York and Philadelphia, PA.
My work is focused on the presence of utilitarian objects and our ability to subvert the context of an object by changing our relationship to it. I make vessel forms mostly inspired by metal or wooden objects. I like to have my process of working with wet clay be evident in my work, but I also try to disassociate from clay and mimic other materials such as tin, steel and wood. I also create wooden objects mostly on the lathe that have forms or language based in thrown ceramics. Although I try to communicate elegance and suggested function, I strive to create pieces that bring to light the impermanence, fragility and biodegradability of a wooden form in relation to the sterile permanence of fired ceramic.
My works attempt to define the absurd for myself, embracing the beauty and brutality of life. Serving as a platform to scrutinize my mortality and the pointlessness of life, my work explores existential philosophies and the indifference of nature. Contemplating the futility of labor, I attempt to connect symbols of toil and death. I translate these themes through an occult guise of personal symbology set against a backdrop of an Americana working class identity.
Kyle Triplett, originally from Spearfish, South Dakota, is a ceramic and digital media installation artist based in Ruston, Louisiana. Triplett earned his BFA in Ceramics from Southeast Missouri State University in 2008, completed Post-Baccalaureate Studies at Louisiana State University in 2009, and received his MFA in Ceramics from Ohio University in 2013. Currently, Triplett serves as Assistant Professor of Studio Art within the School of Design at Louisiana Tech University where his teaching practice focuses on ceramics, sculpture and digital fabrication. Triplett’s work has been exhibited both nationally and internationally including exhibitions as part of the National Council on the Education for the Ceramic Arts (NCECA) and the International Ceramics Studio in Kecskemet, Hungary.
My work explores elements of constructing a sense of place through the layering, mediation, and remediation of information. This in turn opens questions of the natural and artificial experience of landscape, the picturesque, and the romantic notions of the sublime. Within my work, place exists as an idealized space, a space where infrastructure and architecture are stripped away, replaced by my own structures of performance and intended objects. I am interested in the visual elements of the natural world, those that act as bookends for our experiences with sky and ground. Ultimately, I wish the work to induce a form of transportative experience; for the viewer to be placed at the axis point of a vast panorama of nostalgia and expectation, the past and future, distance and adjacency, longing and satisfaction.