Afton Love | Oakland, CA
Afton Love is a California based artist working across media, including graphite, beeswax, resin, and latex. Known for her large-scale drawings, Love’s works are often commissioned for site specific installation. She is collected widely and has shown internationally, and has been the recipient of numerous residencies and awards including The Helene Wurlitzer Foundation grant, The Santa Fe Art Institute residency, a vermont Studio Center full fellowship from the Joan Mitchell Foundation, and most recently, completed a year fellowship with Gallery Route One in Point Reyes Station. Shows in the last year include a two person show at Ell Gallery in San Francisco, a solo show at Gallery Route One in Point Reyes, and a group show with Holiday Presents in Los Angeles. Love holds a BFA from California College of the Arts in Oakland.
I am interested in exploring the human condition via the natural world. While in residence I hope to find inspiration in the New Mexico desert, where a history of creation and attrition is so openly revealed. My explorations of erosional landscapes and ancient rock formations intend to involve direct interactions, detailed depictions, and sculptural interpretations. Through these various approaches I aim to examine my self/ego grappling with the larger forces of cyclic nature, and our shared cultural psychosis and historical amnesia when it comes to America’s relationship to open spaces. The work serves as an analogy to life in flux- the inevitable ground shifting beneath our feet; and how to look to the earth for answers in dark times.
Joshua Hagler | Los Angeles, CA
Joshua Hagler’s work has ranged in focus from religious fundamentalism in America to the history of Westward Expansion, notions of progress and exploration, collective cultural mythologies, and the poetics of theoretical physics. While focusing on painting, his work expands into installation, video, animation, fiction, and poetry.
Since 2006, Hagler has exhibited and lectured at galleries, universities, and museums throughout North America, Europe, and Australia, including a long list of solo exhibitions. He has participated in several residencies including LKV in Trondheim, Norway, Studio System at Torrance Art Museum in Los Angeles, and, this year, MICA’s Alfred and Trafford Klots Program for Artists in Brittany, France. Work has been featured in the New York Times, San Francisco Chronicle, Art Ltd., Juxtapoz, and a range of other publications.
His open-call project proposal for a major installation and exhibition was chosen by the Brand Library and Art Center in Los Angeles to debut in July, 2018. The project is currently underway at the artist’s studio in Roswell.
“Recently, I have been traveling along the rivers and trails important to Westward Expansion, so far bringing me across the Missouri River twice and the Snake River once. I spent much of the time exploring ghost towns and abandoned industrial sites such as former locomotive assembly plants and grain elevators. While at Roswell I would like to explore the Santa Fe Trail up north a couple times as well as some of the many ghost towns dotting the landscape of New Mexico. With the time and space granted, I hope, in addition to painting, to pursue new and risky experiments in sculpture and installation.”
Louise Deroualle | Sao Paulo, Brazil
After receiving her BFA from the Fundação Armando Alvares Penteado in Sao Paulo, Brazil, in 2001, Deroualle became an apprentice to Brazilian ceramic artist Lucia Ramenzoni with whom she worked for the next seven years. In 2009 she opened her own ceramic studio in which she taught ceramics classes and designed and produced a line of handmade functional pottery. Since 2010 she has been involved with both the Curaumilla Art Center in Chile, and the Anderson Ranch Arts Center in Aspen, Colorado, as a studio manager and teaching assistant. Deroualle moved to USA in 2014 to pursue a master’s degree in Ceramics at the University of Nebraska-Lincoln.
“My work is an abstracted representation of me: my identity, the way in which I relate to others and understand the environment I am in. I use ceramic materials to create formal abstractions that reveal different facets—physical, experiential, emotional—of myself. Working with clay is my form of being. Like my own skin, the surfaces of my pieces are thin and fragile barriers between the internal and external world. And like skin, the cracks, blisters, and wrinkles that texture the surfaces of my works record time and stories, veiling and yet revealing who we are. The concrete and physical nature of the ceramic materials gives my work a present sense of the real, while the surfaces invite the viewer to create their own interpretation of an imagined place. The constant presence of opposites in my work creates a dialectic tension and allows my sculptures to be a place of reflection and understanding of the self.”
Julie Alpert | Seattle, WA
Born and raised in the DC suburbs, Julie Alpert is a Seattle-based installation artist and painter. She uses traditional art supplies in combination with everyday materials to explore decoration, disappointment, femininity, nostalgia and visual confusion. Julie has a BA in painting from the University of Maryland and an MFA in painting from the University of Washington. She is the recipient of a Pollock-Krasner Award, two MacDowell Colony Fellowships, a Virginia Center for the Creative Arts Fellowship, two Artist Trust GAP grants, an Artist Trust Fellowship, The New Foundation Residency Program Grant and was a finalist for the 2013 Neddy Awards. She has been Visiting Artist at Clark College and was commissioned by the inaugural Seattle Art Fair to create a 54-foot installation at MadArt Studio. She is a 2017-2018 Roswell Artist-in-Residence Fellow, which brings her to New Mexico for one year this June. Julie is represented by Bridge Productions in Seattle. From 2009-2014, she was a member of SOIL Gallery.
“I make improvised site-specific installations that explore disappointment, decoration, nostalgia and the trappings of femininity. I collect, modify and arrange found-objects in temporary room-size compositions that become frozen records of my private performance. Once the work is complete, I document and de-install. Nothing remains but the photographs and a pile of broken and tattered materials, like the sad detritus of an epic celebration the night before.
An important aspect of my practice is rigorous experimentation with drawing, collage and watercolor as a way to work out visual motifs and color palettes for my installations. With a background in painting, high school theater and film studies, my practice is rooted in illusion, entertainment, composition and light.”