2022

OUT OF THE HOUSE follows up with IN THE HOUSE artists two and-a-half years after the virtual exhibition took place at the height of the pandemic in April, 2020. They’ve sent us updates on their work and what’s been going on since they’ve left the house. We encourage you to take a look back at IN THE HOUSE before scrolling onward to truly appreciate the journey these artists have been on. Note that this exhibition is optimized for mobile viewing.

Alicia Philley

Austin, TX

It’s a Journey, 2021, Acrylic on Shaped Wood Panels, 58" x 52" installed

A World of Complex Affairs, 2021, digital mixed media, 4:3 ratio

“I had been playing with some new ideas for an upcoming show when everything first shut down. I took home dozens of just-started paintings to keep working. But managing online school for my two kids and pandemic fear sapped my creative energy. In the evenings I drew with my daughter’s Prismacolor pencils. It felt comforting to make simple organic and geometric lines, extensions of those unfinished paintings. Showing them with Concept Animals gave me some hope that I’d find new ways to share my art. Later that year I was able to work on several commissioned paintings while home schooling my kids. They had pretty open-ended timelines, which allowed me to able to explore new visual motifs, like geometric voids of raw wood and organically shaped panels. I also spent more time connecting with far-flung friends. This led to curating a show for the online space of a gallery in New York. I’ll be creating larger, printed digital art for my solo show at the Dougherty Art Center next year. The shaped panels were also an important development. For years I’ve wanted to build an outdoor installation of many colorful artworks interacting with nature. I’m happy to share that I'll be installing more than seventy of my shaped wood pieces along a trail at the Lady Bird Johnson Wildflower Center. The show opens in October and will shift with the seasons through late April 2023.”


Amy Hoagland

Boulder, CO

Blurred Horizon, 2021, Scientific Glass Rod, 4’x6’x3”

Thawing Web, 2022, Scientific glass, projection-mapped images, steel welding rod, rock, HD video projections (05:00 & 10:23)

“The work I created for 'In the House 2020' exemplified a moment in time where I was forced to slow down and look closer for new ways of making. I was scrambling to understand how to create work from home without access to my studio tools or materials. This led to learning to create in new ways and looking closer to my surroundings. I had moved away from Austin in 2019 to Boulder, CO for my MFA program, though I came back to Austin in March 2020 when school transitioned online. I felt nostalgia for Austin and began to create these small scientific glass sculptures distorting dried cactus. I later returned to Boulder but this work continued to inspire new ways of making in my practice. I believe in the power of empathy and create work to connect viewers to their senses to cultivate deeper empathy for our landscape.”


Ben Hamburger

New Orleans, LA

Dance Party, 2022, Acrylic and Oil on Canvas, 36x24 in

“These pieces are reflections on the energetic release that took place several times during (and what I falsely assumed to be post-) pandemic when I left the confines of home to go out, convene, dance, and be with other people at night. At some points it finally felt safe, at other points it felt like a calculated risk. In either case, it felt like a necessary lapse in concern for the world.“

Tending Bar, 2022, Oil on Panel, 16x12 in


Clarisa Gonzalez

Austin, TX

Bunny Dolly, 2021, Yarn, 27”x20.5”

“Since 2020, I have tried to mold my art into something a little more three dimensional and tactile. The evolution has been slow, but I’m proud of it nonetheless. I hope to continue this practice and create more life-sized pieces in the future.”


Dharam Khalsa

Austin, TX

Trees, 2022, Film & Photoshop, 8.453x10.442”

Wind, 2022, Digital Photography & Photoshop, 8.537x12.803”

“Since 2020 quarantine I've continued shooting what my environment gives. There's been far less around me and that unfilled space reflects in my work. Fortunately finding a new normal, around people again and trying to find what that new space looks like after such a drastic long term change.“


Emily Barta

MN

Conjunction of Saturn and Jupiter, 2021, Monotype, 6"x4"

Ruins 1, 2022, Monotype, 10x8"

“My work from ‘In the House 2020’ came from an ongoing series of monoprints called “Other Places.” The imagery was taken from personal photographs of places, landscapes, textures, plants, objects, and intuitively-made marks. The images reference little moments like markers on a timeline, but when combined they form something more akin to memories than history.
My more recent work explores monuments, evidence, and relationships with and experience of time. Ruins I is a monotype featuring found monuments/ruins which could be ancient, present, or an unknown combination of both. Conjunction of Saturn and Jupiter is a monotype record of a socially distanced activity I took part in during the second year of the pandemic. Looking at the planets was something that allowed for a cognitive break from the acute turmoil of the moment. Right now, much of my work is based on looking very far outside of ourselves.”


free verbs

Austin, TX

Sitting with Uncertainty, 2021, Digital Illustration (Detail), Projection, 10x8’

Squish Study, 2022, Clay and Projection Mapping, 4x11”

“Quarantine halted events in Art and Music. This shifted my practice away from the fast paced live event work and moved me closer into exhibit planning and design production .  The halt also reshaped how I view the ‘art & culture’ experience and how the market is digitally structured.  I began to think about work that intended to be exhibited or preserved in digital form, and played with the malleability of scale and options that came with it. This building projection references the illustration from the “In the House” show, and graphic novel series “Sitting with Uncertainty”. I drew portraits of those I couldn’t be with and blew them up larger than life size via projection. Each portrait has a narrative driven sci-fi iterations of itself. The second work is one of my studio studies that combines claymation and projection-mapping together. Using plasticine clay allows me to make small models for future sculptures. The time inside helped me slow down on “the rush of producing” and focus more intentionally on long term fruits.


Hayley Labrum Morrison

Austin, TX

The Light That is in Their Eyes, 2022, Oil on Cradled Panel, 24x18”

I Know Not, Save the Lord Commanded Me, 2022, Spray Paint and Oil on Cradled Panel, 24x18”

“My IN THE HOUSE piece reflected my experimentation with video during the pandemic, which I hope to revisit in the near future. My work since then has been focused on painting and developing new surfaces to paint on with paper mache and paper clay.”


JMKreative

St. Petersburg, FL

Paint Markers on Grip-taped Skateboard with Sneakers

Paint Markers on Grip Tape

“Like everyone, quarantine allowed me to invest into my craft more and explore different methods of tackling grip tape as an expressive medium.


Kassidy S Curry

Austin, TX

Untitled, 2021, Multimedia Illustration, 1175x2200 px

With Eyes at the Window, 2022, Colored Pencil, 9x12”

“My creative work includes drawing, painting, 2D animation and different forms of sculpture, mainly paper mache and clay. In my art, I reflect on the contradictions that often overwhelm my brain and the world around me. This has always been relevant to my work, but has played a heavier role in recent years. I’m stuck in the sharpness of memory and intrusive thoughts, yet also I exist in the haze and physical subdual created by overwhelm. We have all been sitting through a new version of slowness, which is also sitting underneath an onslaught of chaos outside of our control. It’s hard to define the pace of the world. It’s hard to define the barrier of inside and outside. The techniques and subjects within this realm of my work vary. Recent work has found both ugliness and beauty within bodies, within bugs, within cakes and treats. Through mixing mediums and textures, and staying within a fluid and bouncy world in animating, I continue to work on the contradictions of soft and sharp.”


Marciella Giovino

Dallas, TX

Logan’s run, 2021, Mixed Media, 11x14” Framed

Inward and Onward, 2021, Mixed Media, 11x14”

“2020 marked a huge shift in my creative pursuits. I was living in a small house with 4 roommates, one bathroom and no living room. When the lockdown started my bedroom became my office, my dining room, my gym, and my art studio. I had always painted here and there but now it became a daily ritual, making abstract color studies, big and small. I’d sit down with them anytime I had a free moment during work or after. Scattered around my room, I lived and breathed with them, getting to know them more intimately as days/months passed.

I soon revisited a collection of vintage playboy magazines I acquired years ago and played with the idea of making collages, combining magazines clipping with my paintings. The process of choosing which paintings to go with which clippings became somewhat thrilling. The curve of a model’s back is so similar to that curve of the pink acrylic brushstroke. Her foot lands perfectly on top of that swirl of yellow, like a puzzle piece. Paintings I’d done without really intending to do anything else with were now matching up with these magazine images made 50+years ago in this cool, serendipitous way

Looking back on it, the lockdown was such a shake up to our norm but we still found the way to fit that new puzzle piece to get through it, and even thrive. I’m so thankful for that time because not only have I found a medium of art that excites me still, it’s a constant reminder that there is a cosmic harmony to everything, the good and the bad, the known and the unknown.”


Margaret R. Thompson

Santa Fe, NM

Earth Garden, 2022, Oil and Wax on Linen, 38x27”

Sky Garden, 2022, Oil and Wax on Wood Panel, 50x40”

“In love with the natural world and the complex terrain of the human soul, I make paintings and performance art that marry the elements of both worlds in unlikely ways, creating narrative metaphors for humanity’s relationships with nature and the strength of the human spirit.”


Stephanie Yara Berlic

Stamford, CT

Florals of Your Dreams, 2021, Digital Collage, 712x1428 px

Flower Dreams, 2020, Original Photography and Animated GIF, 500x500 px

“Being a part of ‘In the House 2020’ was an honor and truly fostered a sense of connection with such a talented artistic community. My piece was a translation of a painting into a digital illustration. Creating art throughout the pandemic was (and still is) an escape, opening a doorway to imagination. My artistic journey evolved over time, venturing from the physical to digital, and vice versa. I collected images of flowers and repurposed old ones. Digital prints, frame animations, and painted commission or abstract pieces came to life. In October 2020, I joined the GIPHY artist community. Sharing my passion for florals and meditative animations with folks around the world was a dream come true. Here’s a GIF expressing a flower burst with a blue sky backdrop. A source of inspiration stems from nature and music – jazz, house and pop. In January 2021, Florals of Your Dreams emerged. It’s a symmetrical and colorful piece which can be repurposed in a variety of ways – like a beach towel, print or velour lounge pants. Flowing from one medium to another is fascinating, especially with bold colorful palettes and experimenting through multimedia approaches. Happy florals y’all 🌼”


This exhibition is part of concept animals Designed-Safe programming.

While it’s safer to leave our homes, we encourage folks to continue safe and conscious practices to prevent the spread of disease.

Take another look at “In the House”