My work addresses landscape and place-making through the lens of history and fantasy. I am interested in exploring the role of landscape imagery in a variety of contexts and in examining its impact on the politics and psychology of everyday life. While essentially documentary my images allude to science, national iconographies and popular culture as well as more idiosyncratic visions of space and place.
Kell’s work typically explores the surface decoration of mass-produced objects we find in the home. She is especially interested in the conventions and ubiquity of surfaces that mimic—or are adorned with—patterns and representations of the natural world as she explores the possibility that these pervasive images are meant to maintain dominant cultural hierarchies and to condition our preferences and attitudes about gender, sex, nature, and home.
At the Kitchen Table Gallery, Kell will exhibit Beauty Rest, a collection of recent work that connects material culture and mass-production to cultural ideologies surrounding constructs of nature and femininity. Kell is using a collection of vintage mattress advertisements as an index of figurative forms to incorporate into large-scale, quilted collages that she sews with found mattress fabric and other related textiles.
Kayte Terry’s work examines the literal and figurative boundaries of the body. Through photography, video, collage, installation and object-making, Kayte unravel issues of illness, memory, dysmorphia, longing and loss. The patchwork of materials she uses form a personal language that speaks to the fuzzy intersection of personal desires and cultural expectations.
I started making work because I wanted to dig deeper. There are some
feelings, some people, and some things that are being brought to the surface.
I go down and find them. I make work as a by-product of mental health and as
a necessary impulse. The use of oil paint lets me work into these depths and
display the desired feelings.
The human speaks volumes to me and this is why the figure is present in my
work. The figure has an endless depth though which to speak and to move.
I am interested in all of our battled emotions. I am interested in our power
struggles throughout time. I am interested in the subtleties that lie just beneath
the surface.
I am evolving emotionally, mentally, and spiritually each day. I wish to speak to
myself and to the human race through my work.
Yixuan Pan is an artist who was born and raised in the land of fish and rice, Hunan, China. To deal with issues of translation and communication as well as reimagining the western hegemony through a global outlook, her anti-disciplinary practice merges multiple media and modes of presentation such as installation, video, performance, lollipop making, music therapy practicing, choral conducting, and more. By dislocating language from its context and form, Pan questions the linguistic structures people learn and unlearn in relation to comfort, temperature, transparency, hierarchy and power dynamics.
Pan is a recipient of the Lighthouse Works Fellowship, Vermont Studio Center Fellowship, University Fellowship at Temple University, and the Laurie Wagman Prize in Glass at Tyler School of Art. Pan’s work have been exhibited nationally and internationally, including: Temple Contemporary Gallery, Vox Populi, Icebox Project, Fringe Arts, The Woodmere Art Museum and the National Liberty Museum in Philadelphia, PA; The Pine Barren Gallery, Whitesbog Village, NJ; ARC Gallery, Chicago, IL; Yin Yang Acupuncture, Portland, OR; Bush Barn Art Center, Salem, OR; Asakusa KAMINARI, Tokyo, Japan; Haukijärvi Forest, Finland; CSUFT, Changsha, China. Pan holds a MFA in Glass from Tyler School of Art, Temple University; a BA from George Fox University in Oregon and a BA from Central South University of Forestry and Technology in China. And she did not stop learning.
https://www.theartblog.org/2018/02/yixuan-pan-on-anti-disciplinary-artmaking/
https://www.theartblog.org/2018/05/yixuan-pan-on-translating-sound/
