ABIGAIL VOLPONE

My work has always been difficult to classify. I feel that my work is more successful and adaptable when it employs multiple mediums. I cannot easily say what the next piece I make will consist of, or from where the idea will come. My art is intuitive, involuntary, and evolves as it is created. I consider myself only the vehicle for art to flourish on its own. As such, I cannot limit creation to one medium, and much of my practice involves studying new mediums to aid in the complex layers of expression I seek to create. 

Although I love using many mediums and surfaces, I don’t need fancy materials to make art. I don’t believe that art should only be something for the elite to have access to view or create, so I try to use repurposed and found materials whenever possible. Things that come from nature, like wood, and things that would have been otherwise discarded, like cardboard, are some of my favorite surfaces to work on. My favorite tool is my hands. There are endless possibilities of creation with only what I can find and make with my own two tools that I carry with me everywhere I go. I view every experience as an opportunity for art making.

My true passion lies in the concept of the human experience and the idea that we’re not all so different. I like for my pieces to speak to any viewer, and hold something that feels  personal to each individual. What I love most about what I do is creating dialogue. By stirring personal memories or feelings, we communicate these experiences with others and share our narrative. We become closer as people, and more aware of others, creating a sense of community in a world that so often feels lonely. If my work facilitates conversation and storytelling, I feel as though I have succeeded as an artist.

ERIC OTLEY

KEIFFER (KAY) HEINO

I make artwork in many different mediums including sculptures , installations, books, photography and graphic illustration. The main focus of my work tends to be either environmental issues caused by human activity such as pollution or societal problems such as racism, and cultural appropriation. As a human I like to target issues that we cause for ourselves as guests on our planet. I make artwork that intends to help some close minded people in our society see problems that they might not for themselves. Some of these topics span centuries and some are current.My work draws from collected data which I present in a way that people can not ignore, through methods that are easily accessible and conducive to easy distribution.

KYLE SCOTT

I create art for entertainment. Whether it be a clever logo or a funny animation, my ultimate goal as an artist is to try to make someone else’s life just a little bit better. My magnum opus is an animated show called Prism, which is about 8 years in the making. As for graphic design, my main interests are creating logos and posters, with inspiration from nature and sacred geometry. 

One of the most important steps in anything I create is establishing some sort of grid. I tend to use lots of geometry in my work, and having a strict grid helps me figure out where all the pieces should go. My favourite font is Futura, as the simple geometric sans serif characters work nicely with the shapes I use in my work. I like to keep my designs simple with lots of white space and limited color palettes when possible. If the work calls for it, however, I make it more illustrative with somewhat psychedelic visuals and more varied colour usage. Nature is an important theme in my art, so I often use natural textures to give my pieces more life and depth.    

My current work focuses primarily on sacred geometry and spirituality. This is a natural progression from my previous work, where geometry and nature have always been prominent themes. Sacred geometry is present all throughout nature and is used in many different spiritual traditions, and I have seen these forms in my own spiritual practice through meditation. Incorporating these visions into my graphic design and animation helps bring them to life and makes the art more personal to me, while also having a universal appeal that comes with the use of sacred geometry. 

REBECCA REEDER

I consider paintings as living things, similar to humans. Like people, damaged paintings can reveal what lies underneath the surface. The canvas is much like skin as it wraps around the panel, which can be marred. I morph human anatomy with the anatomy of a painting structure, so the materiality of a painting must also be considered. Much of my work involves simulated wood grain, canvas texture, and anatomical systems such as cells and veins. The simulation reflects on the materiality of the paint itself. I utilize realism or hyperrealism to make elements of the work feel real, and create strange spatial relationships to add dimensionality, and surrealist qualities.

SHAUNNA ISAKSON

SIERRA ELLIS