Somatic Fix presents the work of a dozen graduating art practice students. The title takes inspiration from somatics, a term within movement studies and dance that foregrounds internal physical perception and sensory experience over external observation and evaluation by others. Working in painting, photography, sculpture, video, and digital media, this exhibition celebrates the culmination of their undergraduate studies.
Polly Capps’s work is an experiment in technique. Combining study of past masters and inspiration from contemporary artists, her religious paintings bring the historic and relevant together in an expression of faith and beauty.
Kevin Chappelle investigates the fluidity of virtual space through an installation that straddles the line between the 2nd and 3rd dimensions. What results is both a perpetual movement through time and a perpetual shuffling of identity.
Melissa Chen’s program "reads" the user's face to predict their future. It relies on recently renewed interest in astrology among her peers and Chinese "算命" (calculation of fate). She is interested in our knee-jerk belief in the unfathomable power of the computer.
Trent Edwards’s project is an attempt at peaceful examination. What do we value? How does that affect how we spend time and what we leave behind? He invites you to pause and reflect as you look at his photos.
Zhanpei Fang wants to understand the consequences of having our seeing mediated through screens. She makes paintings and video installations about how screen-based technologies have changed visual culture, reflecting on the disintegration of digital memory, and slippage between virtual and real.
Eleanor Frost’s portraits of friends and family are playful mockeries of realism and photorealism. Initially working from reference photographs, her oversized portraits come to life through bizarre facial expressions, manipulation of perspective, and exaggerated colors.
Noah Hornik’s work explores the potential of Adobe Photoshop to crop, distort, and paint with photographs. Through manipulation of found imagery, he explores the internet’s devaluation of image ownership and honesty.
Miso Kim’s paintings disrupt the border between representation and abstraction. After studying and depicting an organic subject, she develops it into abstraction. The result is atmospheric and poetic imagery, which inspires us to wonder and imagine the things with which we are familiar.
Vivienne Le decontextualizes service work by treating its practices as disciplined craft and artistry: as art-work. Using acrylic nails, Le creates lotus flowers that symbolize the fruits of labor by immigrant women working in nail salons today.
Ali Vaughan’s sculptures consider the supports of the photographic image. In her work, photographs are subsumed into the varied surfaces on which they are printed, serving as both material and image. They are only precariously held by “frames” that contort and unfold, failing to contain the contents inside.
Once something is lost, you can’t get it back. This fact precedes Jeramiah Winston’s multimedia paintings of scenes both real and imagined. He makes portraits of haunting memories and hopeful futures, which become reflections of his life.
Jenn Xilo’s oil paintings recognize that the affliction, tension, or nostalgia of any other can move every individual in personal ways. The familiarity of feeling in her work fosters empathy despite individuality, shattering the perspectival singularity of art that makes its maker another other.