Robyn LeRoy-Evans
Birthday
It’s past noon and I’m sitting in my bed, ceiling fan whirling above me, listening to your favourite
man from The Six, eating melon and photographing myself.
Skin and skin and skin, layers of sheets, clothing, fruit… tongue around flesh, juice flows through
gapped-teeth…
I’m so, I’m so, I’m so, I’m so, I’m so proud of you…
Everything is uncertain and clear at the same time. I know what I want,
and I want you.
Flesh broken down into tributaries, traced lines, white on beige on cream on pink on red on peach.
Green and silver, shiny and dewy and crumpled.
Folds.
Fold over.
Fold under.
Spinning and moving and being consumed.
Ingestion of green flesh, tender-sweet.
Esther Murphy
I work intuitively and embrace duration. The manifestation of this intuitive making over
such extended periods of time reveals the complexity of everyday experience. I am
interested in bringing what is private into the public sphere to stimulate an interest in the
intricately personal. This conjunction is meant to guide the viewer to embrace complexity
and difference, in which one may pause in a space of non-knowing, delighting in
enigmatic but seductive image sequences. I create a sense of narrative through a visual
flow based on form, repetition and transformation. Just as my work takes time to come to
fruition, it continues to evolve in the eye of the beholder.
我的 Rotten Mandarin
My current body of work, 我的 Rotten Mandarin, created over the course of 2016 and
2017 while living and working in Shenzhen, China, explores my personal experience as a
foreigner and my attempt to comprehend my new surroundings. The photographs were
made in my apartment and in the immediate vicinity of the building. As I moved through
the space over and over again, I witnessed minute to grand transformations of my
environment. As I saw my world differently, I saw myself differently. While the interior of
my apartment was changing at a slow rate, the outside world was changing rapidly. In
this series, the building of a new city is seen from my apartment complex as the mountain
view became dominated by the construction of new skyscrapers. I explored my
transitioning perception of myself and my surroundings in the still lives that I constructed.
Katie McMullin
A kaleidoscope of color, dimension, shape, and foliage; I am
driven to create a world of beauty and freedom that reflects the
vast and awe-inspiring dimensionality of our existence. How
can consciousness alter our reality? How can knowledge
shape our psyche? These are some of the questions I explore
in my work.
Interconnection is a major theme, often explored through the
relationships of spirituality and science, of feminism and nature,
of mortality and creation. The work is steadfastly conscious of our many contradictions of
being, of the seeming paradox of time and space, yet remains
celebratory of these perplexities.
I often use a vibrant palette because I am intensely drawn to
color. Studying objects intently, I work with colors that are
there. I search for color in the micro layers of natural objects,
and express them boldly, to magnify their natural beauty. I
hope to create irresistible and energizing imagery that excites
the senses, by focusing on these miniature miracles that our
senses often take for granted. I hope to reflect the magic of our
existence, of our world, and of our universe, while also
remaining grounded in science, and the challenging realities of
our social structures.
Contour drawing, impasto, and alla-prima are just a few of the
techniques that I employ, often in the same pieces. This multi-
technique approach invokes a world that is multi-dimensional
and multi-textured, in regards to both form and function. The
work attempts to bring the viewer in and out of reality, and
inspires one to question their perceptions. Juxtaposition and
layering intentionally challenge the viewer to look deeper, think
deeper.