Millennial Collective
[Tady Student Work] 2017 Art Exhibition of seven advanced undergraduate artists from the University of Texas at Dallas in Richardson, TX. These mixed-media works reflect each artist’s independent vision. within the context of contemporary art, primarily through the lens of hybrid painting. This group exhibition will feature thematic works by Anna Galluzzi, Carolina Reyes, Jason Doze, Korina Guerra, Richard Patterson, Will Austin and Robert Powers.

February 4, 2017
The Gallery at Continental Lofts
Deep Ellum
3311 Elm St.
Dallas, TX 75226
This art exhibition runs February 4 – March 4, 2017

2017 Art Exhibition is curated by Lorraine Tady, artist at Barry Whistler Gallery and Clinical Assistant Professor, Visual Art, at the University of Texas at Dallas;
sponsored by Creative South USA and produced by Tres Reyes Fine Art Productions. Photography documentation by Carlton Odom.

THE MILLENNIAL COLLECTIVE members and exhibiting artists include:

Reyes paintings collage throw-away advertisement slicks with her own figuratively painted images. She says, “In order for our society to ‘make sense’ of the world, we categorize things. Either this is beautiful or this is ugly. This is male and this is female. This is sweet or this is savory. But in order for me to be comfortable in this world and ultimately, with myself, I have to see the world as many states of being. People and things aren’t just either/or. They can be both or many. Consumerism/Frugality, Abstract/Concrete, Defined/Undefined, Straight/Curly. The mouth as a vehicle for the most beautiful words that can save people, or the ideas that can kill. Do we want to take the time to understand or do we want to consume the image quickly? These are the ideas that interest me the most and that continue to unconsciously weave itself into my paintings.”

Doze’s painted constructions show an interest in “aphorisms and vulgarity to ridicule government, trends, and the consumerism culture.” He states, “All in the space of one work, I typically begin with a phrase or text, tip-toeing between intellectual and street smarts, political awareness and outright offensive provocation and ridicule. Seeking to exploit nuances of language and expressing it through various media, the dialogue between text and painting shows a capacity to utilize the potential of both and assures the striking statements are loud and clear. Daring viewers to unwrap the story and decipher its textual components and hidden meanings, I present hypocrisy and duality of humanity through a distorted filter of satire and subversion to an almost comical extent. Even if the narrative I present has historical fact, I try to delve into the fact with sarcasm that is savagely uncomfortable or with an intensity that is hard to shake.” For example, in None Saved, transparencies “access a window into history” and the work relates “an uncomfortable re-telling of how medieval nuns were used in Roman Catholic prostitution.”

Patterson’s painted wood and canvas constructions focus on the figure and are “fueled by stimuli as varied as horror movies, heavy metal album cover art, nature illustration, and Christian mysticism.” Corporal dread is suggested through alien forms and colors, disfiguration of the face, or exaggerated physiques recalling comic books. He says, “There is a comfort in contradiction, as I find peace that I am both the person who in the past researched the occult as a member of a gothic industrial heavy metal band and the person who is now a dedicated family man who recently became a born-again Christian. Cognizant of this idea, my current body of work is engrossed in finding a genuine sense of the divine in the exploration of mythology and storytelling.” He desires to communicate “serious spiritual issues such as death, sin, redemption, and the creation of shrines and idols” using sacred geometry and “a general sense of manic religiosity through the pursuit of the ecstatic.”

Guerra assembles hand sewn sculptures and manipulated Home Depot items. Guerra says, “I’ve been surrounded by gender biased media all of my life and I have learned that this is a man’s world and women live up to a man’s expectations. Challenged by many thoughts on today’s society, I have looked at ‘beauty norms’ in a peculiar way. I wanted to bring awareness as well as laughter to the meaning of ‘beauty.’ She discusses how the media communicates to women. “There is always something new every day. From crazy eyelash extensions to lip injections, I’ve found a way to express my concern and poke fun at the fads that are currently going on right now. There is something comical about beauty today because the bigger it is, the more accepting you are to society. We want to look beautiful, but when is there a limit?” Guerra sews her work by hand and uses yarn in her sculptures, for example, to exaggerate the length of eyelashes, or, includes a real bicycle pump with her installation of large, hand sewn lips. Flower petal “hair” grows from her female torso’s legs and the figure is adorned with commonplace underwear and socks. She says, “My art is meant to make you laugh and think about the amount of time we put in to make other people accept you.”

Austin shows watercolors with dimensional additions. Austin states, “I attempt to force a kinesthetic experience onto others through the presentation of a visceral sensation. I use a pictorial base of watercolor for the innate prettiness that the medium suggests. Watercolor also allows me to create large textural patterns within a very flat medium. In a fight against the flatness of the watercolor, I apply thick coats of acrylic on top to highlight and deform specific areas. The plastic, gooey nature of acrylic lets me create large textural areas that create a hard tactile sense-area for the observer.” Austin continues on ideas of beauty, disgust and sexuality. “Vulnerable body parts interact with knives and foods through either juxtaposition or in the image itself. The themes contained are in conversation with the photography of Brooke DiDonato and the work of Alejandra Prieto.”

Robert Powers’ work is compulsive and process intensive. He narrows down his tools to paper, canvas, and an x-acto knife. “In my first series of works, Personalities, I focused on paper and cardboard folding. I carried this process out until I had nothing left to fold. Then, I assembled everything onto panels, and as I ran out of surfaces to work on, I began a process of accumulation; what began as a triptych turned into nine panels.” Using image transfers “of extreme close-ups and cropped views of magazine cutouts adhered to hand-cut canvas” in Untitled, he incorporates print and photography yet highlights the cloth-like canvas. All of his current work seems to refer to repetition, new iterations and a reference back to one unit or process.

Influenced by Renaissance painting and early religious art, church ceilings and frescos, Anna Galluzzi embroiders loose canvas, lace, torn pet toys and photographs into her mixed media works. She photographs herself, her friends and her immediate surroundings yet “creates an imaginary world in which the viewer sees that reality through another, false, lens” allowing the “imagined world and reality to intersect.” She says, “The use of photography in the work gives me the ability to pursue ideas quickly and ensures the imagery is clear to the viewer.” Her most recent work Am I Pretty Yet? makes the grotesque approachable by surrounding the deformed figure (a self-portrait) with torn yet friendly plush dog toys (from her own home), creating a stark contrast and a mirror of sorts.

artist at Barry Whistler Gallery and Clinical Assistant Professor, Visual Art, at the University of Texas at Dallas, helped to curate and facilitate "THE MILLENNIAL COLLECTIVE" Art Exhibition at The Gallery at the Continental Lofts in Deep Ellum. She encourages students to participate in the local arts community and show their work outside of the classroom.
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