I have been particularly interested in motion because of the way it gives a sense of time, creates an unpredictable pattern, and demonstrates a history of growth or destruction. I have represented my ideas about movement through the use of motors, electronics, and the mechanisms I develop.
As I observe the world around me, I often notice our many wasted opportunities to make things beautiful. Our built environment can receive better consideration, as opposed to design decisions being influenced by economics, and I dream of a world in which beauty is the number one priority. Not beauty for beauty’s sake; but beauty within functionality, elegance with consideration for how the things around us affect our quality of life. This is why I create.
Complementary. If one word had to be chosen to describe the collaborative works of Quincy Owens and Luke Crawley it would be complementary. Quincy creates abstract work out of a spontaneous spirit-filled place that taps into a universal human connection for years. Luke deliberately dissects, analyzes and categorizes segments of sound, light and/or visual elements to quantify in order to rearrange them into new, well thought-out systems. Both artists work from different realms of the mind providing part of the complete existence of human reality.
If life were a photo, then my artwork would be the film negative, seeking to explore those aspects in our society that have been ignored or forgotten such as history, lynching, misogyny, slavery, and suicide. By printing these forgotten negatives, I give voice to the marginalized and disregarded aspects of our society.
Project One is a digital design / fabrication studio, founded by Adam Buente and Kyle Perry. They are focused on incorporating parametric software, CNC technology, and reactive systems in their work. Their varying skill sets and flexibility have produced projects at a variety of scales and with a wide range of materials. Their process remains connected and fluid, producing highly detailed end products as they engage the work from start to finish.
My creative work is interdisciplinary, collaborative, and incorporates a wide range of media. It is mostly project-based and outcomes-focused, embracing individual narratives and community identity in equal measure to beauty, form, and function. The end products follow rigorous conceptual frameworks yet present themselves through simple and accessible pop and folk aesthetics.
Indianapolis-based conceptual artist Brian McCutcheon uses video, photography, and sculpture to explore the relationships between play and masculinity. He will follow an idea rather than using a signature technique or image and often represents them with different methods. This necessarily directs him to follow a path of learning, both in concept development and material usage for every project.
I have been particularly interested in motion because of the way it gives a sense of time, creates an unpredictable pattern, and demonstrates a history of growth or destruction. I have represented my ideas about movement through the use of motors, electronics, and the mechanisms I develop.
As an artist I work in the service sector. I transform and rebuild familiar objects so that new questions can emerge relating to what I see and what I know. When an object is both new and familiar, there is an opportunity to reconsider one’s relationship to the world as we know it.
Building larger furniture and furniture-like objects from small, rough, discarded bits of wood, I sketch pieces together. There’s intensity and an odd sense of worth in something that has been cobbled together from smaller parts. I don’t hide the connections, and I leave traces of attempts and failures to make something work-an odd map of the logic and processes used to assemble the piece.
The Public Collection is a public art and literacy project developed by Rachel M. Simon, with support from the Herbert Simon Family Foundation. Books for TPC are supplied and stocked by the Indianapolis Public Library.
