:: APOGEE :: This Saturday; May 15, 2010

+ THE ARTIST’S WILL BE DEMONSTRATING SILK-SCREENING DURING THE RECEPTION SO FEEL FREE TO BRING A T-SHIRT OR SOMETHING TO PRINT ON +

Camilla Taylor

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Tyler Ferreira

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Rob Brown

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Camilla  grew up in the conservative Mormon town, Provo Utah.  She went to high school at Provo High School, where she had a much abused and poorly functioning letterpress.  That was her introduction to printmaking, and she became attached to it immediately. Straight from high school she enrolled into the art department at the University of Utah in Salt Lake City, where she learned much more about the craft from Justin Diggle. She revisited the U of U printshop recently, and like a childhood home it seems much smaller than she remembers it, but when she was a student there it was so vast.

While pursuing her undergrad, Camilla worked in the series of jobs that people with little experience and odd schedules get into:  barista, cook, baker, call centers, etc.  She learned how to sew when she began working for a small bondage gear business, a skill which has become invaluable to her.

After moving to Phoenix, AZ and without a press, she began working in sculpture instead of printmaking, producing a series of fabric and ceramic dolls, among other things.  As a gift, she received a small flatbed press and began experimenting with merging the recent work in sculpture with her previous work in 2-D prints.  Camilla moved to Long Beach, CA to begin graduate school at Cal State, Long Beach, where her life is very boring to tell other people about but only because she gets to spend so much time doing exactly what she wants to do.

How we perceive depth and objects is not a codified and certain thing, as anyone drawing two converging lines in a piece of paper may know if not entirely realize.  We can perceive something as possessing of depth even while intellectually knowing it is a flat plain. My work is an exploration of on the vagaries of perception and created using traditional methods of printmaking and utilizing imagery that is figurative.  The ways in which depth is perceived, as physical or as illusory, inspired a series of three dimensional prints.  For these works, the image is superimposed upon an original fabric form and mapped out in a complicatedthrough a complex series of steps.  When fully constructed, a viewer can see the object itself as possessing depth andphysical depth through form that is simple and iconic, but can also see the detailed imagery upon the form as possessing depth even though it is flata two-dimensional illusory depth.  This series has logically extended to include a discussion on the useages of fabrics and ephemera of sewing;  new forms are made out of the old printed pieces, and made using the scraps of other prints.  The original relief print is re-imagined into other forms.

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Tyler Ferreira received his early training in drawing, painting, design, and printmaking at the College of the Sequoias.  While attending C.O.S Tyler received the Sophia award for excellence in printmaking.  Tyler received his Bachelors of Fine Art at the University of South Dakota.  Tyler was awarded the vice presidents, faculty, and Chairs purchase award at the Stillwell Student Exhibition.  Tyler is also a six time Frogman’s print and paper workshop participant, and a five-time teachers assistant at the workshop.  He is currently getting his masters of fine arts degree at California State University Long Beach.  Tyler received the Baker awards grant, the Werby scholarship, and the Frogman’s graduate student scholarship award.

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Rob Brown currently lives in Long Beach, CA, where he is working towards his MFA in printmaking and drawing at Cal State University Long Beach. He received his BFA from the University of Nevada Reno in painting and drawing in 2008.

I am interested in the exploration, emotional experience and impact of minimal obsessive mark making. These marks are informed by and draw reference to both synthetic sound waves and naturally occurring patterns, such as those found in rocks, trees and other geologic formations. They begin to overtake both narrative and figurative elements that previously dominated my work, pushing them out and obscuring them; creating visual and conceptual tension. These marks are created with an acute attention to detail, yet are allowed to organically evolve. These marks predominately take the form of tightly packed, finely drawn parallel lines. These lines are drawn in sequence alternating from top to bottom; by the time they merge in the middle their form is organic and unpredictable. They become a sort of generative sequence that evolves from specific parameters and eventually takes it’s own unique form albeit still within the original constraints. These marks rely heavily on slow meticulous draughtsmanship to imbibe them with energy and power. I use printmaking, graphite and ink to accomplish these delicate, yet powerful marks that upon interacting with each other push into a more organic, meditative aesthetic experience; one that is less reliant on personal symbols and stories.

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