Object of My Affection: Foot Bath
Bee’s wax and steel basin
Object of My Affection is a body of work that includes both objects and images. It started with a playful manipulation of a photograph, a kind of reinventing history that suggests a relationship between me and Joseph Beuys. He is of course an art hero; an icon that left a mark on the world with his art works and his personal mythology. Placing myself in a photograph with him excited me; more than I expected it to. I couldn’t get over it. I couldn’t stop looking at it, thinking about it, thinking about him and how much I clearly needed him.
I realized that what I was seeking was a champion and guide. I longed to have a mentor. I sensed that I had lost my bearings; I was looking for direction, striving to find a course for my art making.
The manipulated photograph led to more art work and one work led to another, led to another, led to another… I soon recognized that this body of work had evolved into an overtly romantic gesture. Object of My Affection romanticizes art and personal history. It idealizes the influence of important figures, and emphasizes materials and objects for their physicality, sensuality and meaning.
Generally I shy away from explicit idealism; it is so often trite. But this time, I gave in. I gave myself permission to feel sentimental and affectionate and to indulge unapologetically in the pleasures of concept, aesthetics, materials and process.
By using Joseph Beuys as my muse I run the risk of being misunderstood and dismissed as artlessly derivative. What I know is that Object of My Affection is not a simplistic appropriation of another artist’s work. It is romantic idolization and idealization – I needed a champion and a mentor and I wittingly followed my instincts in pursuit of meaningful connections.
Tamara Scronce’s major areas of interest are sculpture, installation art, and video. Catherine Angel, fine arts photographer, professor, and curator writes, “Tamara’s studio endeavors produce innovative, beautifully crafted objects imbued with vulnerability and sensitivity. Her sculpture and installation work, although always beautiful, cannot be dismissed as merely nice to look at – her work is equally intelligent and challenging both in concept and content.”
Born and raised in Reno, Nevada, Tamara attended graduate school at the University of Illinois, Chicago and the University of Nevada, Las Vegas. She completed her Master of Fine Arts degree in 1997 and moved home to join the faculty at the University of Nevada, Reno in 2000.
Tamara earned tenure and was promoted to Associate Professor of Art in 2006-07. She directs the John Ben Snow Sculpture Center and also directs the Master of Fine Arts graduate program at the University of Nevada, Reno. She was awarded the University’s Outstanding Graduate Advisor Award in 2016, and she has been honored with two College of Liberal Arts teaching excellence awards, one in 2007 and again in 2016. This year Tamara was awarded the University’s F. Donald Tibbitts Distinguished Teaching Award. She teaches all levels of sculpture in addition to MFA and BFA studio and critique practice courses.
Tamara has exhibited her artwork in solo, group, and juried exhibitions, and participated in a number of collaborative projects. She has been honored with awards in juried exhibitions and has received several artists’ grants in support of
her work, including the distinguished Nevada Arts Council Artist Fellowship Award, and the Sierra Arts Foundation Artist Grant. Tamara was awarded two substantial University of Nevada, Reno faculty research/creative activity grants in support of her work in video and sculpture installation.
Candace Nicol Garlock
For “My Body, Your Body” exhibition, I began a series of drawings and paintings inspired by a piece I created in 2015 titled “Future.” The work visually probes the emotive power of desire – not sexual desire, but the desire of attachment. Humans have an instinct not to trust, to look upon another with a lens of self-preservation. But, at the same time, we seek understanding, connection and love. There is a beauty – a vulnerability within each of us and there is always hope that we can each find the relationship that we most desire.
Candace Nicol Garlock is an artist, educator and galleries curator at Truckee Meadows Community College, Reno, Nevada. She also sits on the board at Doral Academy of Northern Nevada and Rocky Mountain Print Alliance. Candace’s work has been exhibited both nationally and internationally and occupies such prestigious permanent collections as the Boise Art Museum, Corcoran College of Art and Design, Rutgers Center for Innovative Print and Paper at Rutgers University, Southern Graphics Council Archives, The Kinsey Institute, National Taiwan Museum of Fine Arts, and Painting and Sculpture Museum Association, Istanbul, Turkey. She has been awarded the distinguished Nevada Arts Council Artist Fellowship in 2009 and the 2017 Nevada Regent’s Creative Activities award. She also has been awarded an honorable mention in Printmaking Today, a review of fine art printmaking at the Dedalo Center for Contemporary Art, and the Castle of Castiglione Museum, Abruzzo, Italy. Nicol’s work can also be seen in 100 Artists of the Male Figure by E.Gibbons.
A Native Nevadan, Candace uses the male figure as a means of formulating a response to her experiences in Nevada’s often contradictory landscapes of desire. Her work has been described as a fusion between printmaking, painting, and digital photography. As a result, Candace’s multilayered compositions posit engaging questions to viewers regarding relationships, social identities, and societal issues surrounding the female gaze.
A Nevada Fellowship of the Arts recipient, Dudley and his art are deeply informed by mountains, desert, rock-climbing, and being alone both in the land and in a more existential way. His photography, installation, sculpture, and video work has been exhibited in galleries, public collections, and alternative spaces, including Mindy Oh in Chicago, the Center for Creative Photography in Tucson, the A.M. Project and Treehouse Galleries in Los Angeles, and the Nevada Museum of Art in Reno. Exhibiting at times under the name of his alter ego Jimmy Jewel, he is a member of the art collaborative, d3ms, and his ongoing photographic collaborations with performance artist Joanna Frueh have resulted in portfolios published by UC Berkley, University of Nevada, and Nevada Museum of Art presses. Courses: New Genres, Contemporary Issues, Gallery Exhibition, Professional Practices, Photography, Sculpture.
Raised in Ohio, Mary received a BA in studio arts from Baldwin Wallace University and a MFA in printmaking from Kent State University. In 2016, she completed a residency in Ireland at Cow House Studios where she focused on her collage and drawing practice. Mary has participated in numerous shows nationally and regionally. She is an associate professor at Sierra Nevada College teaching a variety of courses within two-dimensional practices.
For My Body, Your Body, I created Wild Weeds Spread with no Regard, which addresses my mother’s cancer, and my own cancer diagnosis. We were diagnosed with different cancers a month apart. While I was going through treatment and getting better my mother was not responding to her treatment and ultimately died from complications of cancer. The tumors that were being removed from my body were multiplying in her body. I can’t explain those short, nine months that we had together at the end of her life so I made this piece instead.
My interests lie in the experimental process of constructing a narrative through hand-cut collaged works. I begin my explorations from creating hand-cut collages, piecing together various images and finding new ways to arrange them. I consider these preparatory collages a sketchbook of sorts and revisit the ‘sketches’ in order to use them as a starting point for my final works. The collages then become mixed media works; each element of the work is realized in a form a graphite drawing, prints, and recently sequins, felted forms.
Paul Baker Prindle
Paul Baker Prindle’s images build on the traditions of portraiture, but confound those traditions by using index, vernacular conventions, and the landscape to evoke impressions of the body that go beyond what is visually represented. This work reflects a number of strategies for engaging The Real, Gay and Queer identities, memory, and the practice of portrait making from various emotional positions including loss, isolation, trauma, and melancholia.
Paul Baker Prindle (b. La Crosse, Wisconsin, USA) has exhibition in Austin, New York City, San Francisco, St. Louis, Milwaukee, and Los Angeles. Photographs from his series documenting the sites of homo- and transphobic hate crimes are collected by several museums in the United States. His work has been published by Out and Out.com, Adovcate.com, Our Lives, and Männer, and has received mention in ArtForum Diary, Wisconsin Gazette, Milwaukee Journal Sentinel, Reno News and Review, and National Public Radio.
Chris Lanier is an artist with a background in both traditional and digital media, and a demonstrated interest in hybrid forms, having worked in multimedia performance, digital animation, web production, and comics. His animation has screened at Sundance and won awards at several international festivals, including the Grand Prize for Internet Animation at the Ottawa International Animation Festival. A constant in his work has been a fascination with visual communication – the way visual information constitutes a language of its own, one that can both clarify and distort reality. He is currently the Associate Professor of Digital Art at Sierra Nevada College.
Bahareh Shahrabi Farahani
Bahareh Shahrabi Farahani is a visual artist working primarily in painting, drawing and installation art. She earned her MFA in Interdisciplinary Studio Art from the University of Nevada, Reno. Farahani received her Bachelor of Arts in Visual Communication with minors in interior design, photography, and children book illustration and an advanced degree in Persian calligraphy from her country of origin Iran. Her works have been featured in solo, group and juried exhibitions
throughout Iran, the Middle East and the United States. Farahani lives and works in Reno, NV.
My artwork explores ideas of memory. I use my memories, memories of my home, and the events of my life. I am fascinated with the imageries encased in my memory, and how these memories are formed and eroded by the personal, cultural, and historical layers. Notwithstanding that my work begins in personal experience, it intends to go further and communicate with more souls. Themes in my work include ideas of longing for “home”, notions of “personal identity”, and “self-exploration”.
To realize the physical and visual qualities of my artwork, I collect and look at forms and patterns, and material qualities that inspire and engage me in the creative act of recalling and reimagining memory. The images and materials I use function as intentional metaphors to develop layers of content and trace the connections between my ideas and aesthetic. I employ specific materials such as resin, wax, handmade paper, translucent paper and acrylic paint. The imageries communicate as forms and patterns that anyone could engage with. Specifically, these are geometric forms and organic patterns in my works that are melted and formed in the container of the history and culture; my history and culture. However, the piece is not only pictures my memories and my feelings, but
also create a space to share experience: a moment to feel and to think; for the viewer.
AB Gorham is a book artist and writer, originally hailing from Montana. She holds an MFA in Book Arts (2014) from The University of Alabama, where she also received her MFA in Poetry (2012). She lives in Reno, Nevada with her husband, their daughter, and their three beasts, is the Press Manager at Black Rock Press, and teaches book arts at The University of Nevada, Reno. Her artist’s books are represented by Vamp and Tramp Booksellers, LLC and Abecedarian Gallery. For inquiries about books, contact AB Gorham at email@example.com.
This series is a combination of elements from artists that I studied while learning photography. It is loosely based on Duane Michals’ “Take One and See Mt. Fujiyama.” Formally, it follows John Pfahl’s “Altered Landscapes”, which used perspective and the privileged viewpoint of the camera to create interactions with the landscape. To create the compositional relationship between the cactus and the mountain I had to position the camera with precision in terms of height, angle, and distance. Obstacles in the desert often made this task impossible. The title is a metaphor for navigating any difficult or precarious situation.
Dean Burton attended the University of Arizona from 1989-1994, majoring in Studio Art and working at the Center for Creative Photography. He lived to the west of the Saguaro National Monument and drove through the park on a daily basis. Discouraged from presenting photographs of cacti in critiques at U of A, this series was done long after graduation during trips from Nevada to Arizona.
Dean moved to Northern Nevada in 1998 and is now Professor of Art/Photography at Truckee Meadows Community College. His current practice involves returning to the use of analog photography and creating hybrid analog/digital processes. His artworks are included in the permanent collection of the Nevada Museum of Art. Recently, his work was featured in an exhibition at the Crocker Art Museum in Sacramento.
Through this work, I wanted to explore the notion of connectedness and universality that I believe that exists at the very bottom and foundation of existence. I believe that we are all one infinite consciousness and our individuality is the subjective manifestation of the infinite and eternal consciousness. As such, if we do good to others, we are in effect doing ourselves a favor as we are part of the same whole that encompasses everything that exists.
Mahsan Ghazianzad was born in Tehran, the capital city of Iran. She pursued her Master of Fine Arts degree at the University of Nevada, Reno on May, 2016. Since then she has been teaching drawing at Truckee Meadow Community College, Reno-Nevada.
Primarily interested in works that convey personal meaning, Mahsan works to capture the essence of her experiences through her paintings. She uses color, line, and shape in harmonies and abstract compositions to express emotions, thoughts, and sensations. A wide variety of sources influence Mahsan’s artwork including personal history, poetry, philosophy, music, and also the works of artists that she admires.
Mahsan has participated in numerous exhibitions in Iran, Canada and the United States. Since emigrating to the US six years ago, her works has been exhibited at the National Law Immigration Center Los Angles; Folsom History Museum, California; California Museum, Sacramento; Women’s Muse World Conference, Oregon; University of Nevada-Reno; the City of Reno Art Blast; University of Nevada, Las Vegas; Lake Tahoe Community College; American River College, Sacramento; Sierra College,Rocklin-California; Truckee Meadow Community College, Reno; CCAI Courthouse gallery, Carson City; Metro Gallery at City Hall, Reno and others.
Sheri Leigh O’Connor
Sheri Leigh was born in Memphis, TN in 1962. She earned a B.F.A. in ceramics from the University of Colorado, Boulder where she studied with Betty Woodman, and an M.F.A. from Claremont Graduate University studying with Paul Soldner. She has taught ceramics since 1988, at Aims Community College in Greeley, Colorado, and in 1997, began teaching at Sierra Nevada College, at Lake Tahoe. Currently she chairs the Fine Arts Department at SNC Tahoe, and directs the Summer Visiting Artist Workshops. Her work has been featured in Ceramics Monthly, Clay Times, Black Pearl and Other Saturated Metallic Glazes, by John Conrad, and Ceramic Sculpture: Inspiring Techniques, American Ceramics Society. Her work has been included in local and national exhibitions. She created “A New Decade of Clay: 2010”, a national ceramics exhibition juried by Richard Shaw, and curated “The Soldner Society” exhibition at NCECA, the national ceramics conference, in Tampa, FL. For the past few years, Sheri Leigh has been organizing travel courses and public travel workshops to Japan.
This piece was made for the theme of this exhibition, “My Body, Your Body”. My body, is the 1967 VW bug auto body. The tank is Trump’s body, and his militaristic mentality. I am very much a pacifist, and I fear for the world’s future with someone in office who cares solely for money; not for the arts, not for our environment, and not for peace.
“All creatures in the world are connected, and they all have a common ancestor.”
Our society values youth more than age and progress more than tradition, resulting in death being treated as taboo. The source of my art practice goes back to my experiences working within the medical field in Japan. Interacting with patients during my seven years as a medical professional, I was left with many unanswered questions about the connections between birth and death. Over time, I came to view the world as layers and linkages. My work, influenced by archaeology and Buddhist
philosophy, as well as my scientific knowledge, represents my understanding of the importance of accepting death on a larger level.
The focus of my latest body of work derives from my understanding of the histories that are etched, trapped, and stratified in the soil of the Earth. I developed the prospective that our world is made with the linkages of accumulated histories which is what I mean by layers and linkages. Millions of creatures and human beings have come and gone over time, becoming a part of the layers of the land. Scientists believe that all the stratums are linked telling us the stories of who we are and where we are from. It is this belief that makes the chain of our histories complete. I am interested in this relationship between humanity and how information is trapped in nature.
Root 1 is from the body of artwork, “Layers and Missing Links.” It includes my view that our history evolved with nature and is etched into it. In my work, I employ repetitions of anatomical, figurative, and genetic references, along with people’s names taken from phone books to suggest the cycles of human lives and histories. Bones and amber represent what carries or traps the information of the past. By layering, repeating, and combining, I construct my view of this world in my artwork.
Japanese people believe that the souls from the dead keep living, the spirits of nature exist, and land retains its destiny. People inherit the histories of the land where they live. In order for their families to have healthy and happy lives, they respect vengeful souls and worship the spirits. Growing up in the Japanese culture, these superstitions flash through my mind whenever I see the earth of my backyard.
I wonder what happened, what kinds of people lived here, and what things are buried underneath my feet.
I was a scientist in a country with many superstitions, giving me the ability to perceive the world from two contrasting perspectives. In my artwork, I am interested in creating the unity of opposites that constitutes our world. Scientific and nonscientific, silent and communicative, still and active—these are the dichotomies that inform my work. I present my view of death as another form of being alive.
Miya Hannan’s sculptures, installations, and drawings show her view of the world that is constructed by the layers and linkages of human lives and histories that are etched, trapped, and stratified in the soil of the Earth. Her practice is influenced by Asian philosophy and rituals, as well as by her scientific education. Hannan’s work has been shown in numerous solo and group exhibitions both in the United States and abroad. In 2012, she was commissioned by TEDxSan Diego to create an installation for their meeting. She also received the 2013 Distinguished Alumni Award from Mesa College, San Diego.
Hannan was awarded an M.F.A. Fellowship from San Francisco Art Institute where she received her M.F.A. in 2007. Before coming to the United States, she received a bachelor’s degree in medical technology from the school of health sciences, Kyushu University and worked for a hospital for seven years in her native country, Japan. She is an assistant professor at the University of Nevada, Reno.
Julia Schwadron has shown her artwork across the country as well as internationally. She has had recent solo exhibitions at HGallery Project Space in Bangkok, and at The Farnham Galleries at Simpson College in Indianola, Iowa. Schwadron was a Visiting Professor of Painting and Artist in Residence at Chiang Mai University from 2010 – 2011, and a Visiting Assistant Professor of Painting at the University of Iowa from 2007-2009. She was a founding member of the “Matzo Files,” an artist flat file project inside Streit’s Matzo store on the Lower East Side of Manhattan in 2004. As a Jacob Javits Fellow from 2002-2004, she facilitated an exchange in conjunction with the Transmedia Postgraduate Program in Art and Design in Brussels, Belgium. In 2006, Schwadron was awarded a Joan Mitchell Fellowship for residency at the Vermont Studio Center, in Johnson, VT, and a resident at the Virginia Center for the Creative Arts. Schwadron received her BA in Studio Art from UC San Diego in 1998 and her MFA in Painting from the Tyler School of Art in 2004. She currently lives and works in South Lake Tahoe, and she is an Instructor of Painting, as well as Assistant Director for the MFA in Interdisciplinary Arts at Sierra Nevada College.
These works are a part of a series of 6 paintings, all oil on linen, white paint on a black ground, and evoke the photographic negative, a photogram, or an x-ray. However, unlike any of these comparisons, the paintings are made by hand, in direct response to an object itself, in this case, a bouquet of dead flowers. Each painting in the series measures 54in x 90in, enforcing a relation to a human scale. The white paint on the black surface is transparent in parts, and the brushstrokes are present as evidence of potential life left inside what is already dead.
Rick’s artwork focuses on the effects of environmental pollutants on the body. He uses materials as metaphor to address the looming impact of a culture dependent on diminishing resources. Rick has served as Sculpture Program Coordinator at Anderson Ranch Arts Center and has taught at both the University of Dallas, and Colorado Mountain College. He has been a visiting artist at Colorado College, San Jose State University, University of Miami, and Arizona State University. His sculpture has been exhibited throughout the country and was featured in a solo show in the Charles and Dorothy Clark Gallery at the University of Texas – Pan America. In 2007 Rick’s sculpture was the focus of an article in Sculpture magazine. He was recently published in the book Confrontational Ceramics: The Artist as Social Critic by Judith S. Schwartz and was featured in the documentary film “Questions of Art,” by Zach Jankovic.