Dis-Ease by Christopher Sorenson selected works for ITCH
The work of Minnesota artist Christopher Sorenson guides us down a path between life and death in the form of abstract portraits of disease. With his subtle touch, Christopher discovers disease as a powerful form of transformation and healing.
As an intuitive body worker and student of homeopathy, Sorenson prefers a holistic vision of dis-ease. His art communicates that vision by bringing awareness to the complex of human emotional, spiritual and physical anxieties that can be harnessed to achieve a heightened sense of well-being. This sense sometimes comes through the pain of what Sorenson calls "energetic crises."
Ringworm, Syphilis, HIV/AIDS, and Malaria — the various dis-eases rendered range from the superficial and irritating to the morbid and fatal, thus presenting an evolution in which these conditions move from hopeful to hopeless. The pictures radiate however with light and an awareness of the greater possibilities by embracing the experience of suffering.We are asked to inspect our own feelings about disease and suffering, and to examine how the realities of life and death in one way or another propel each and every one of us.
To create this work, Chris interviewed people willing to share their first-person experiences. These portraits express the energy, mood or pathology of each dis-ease as described to him. The work is meant to inspire respect for the power of suffering and the awareness of mortality.
Trifle a portrait of Ringworm 60x40 Acrylic and Inc on Canvas
Hopeless a portrait of Syphillus 60x40 Acrylic and Ink on Canvas
Graphite and Ink by Jesse Nagamatsu Select portraits for ITCH
Llane Alexis Dominguez
Healing Dolls by Llane Alexis Created for ITCH
Llane Alexis is a polymath. The artist, who hails from Cuba, began his career as a painter 20 years ago and moved towards textiles about 10 years ago while observing the waste displayed by the fashion industry. Llane began utilizing remnants of fabrics from fashion designers and makers to transform throwaway objects into instant heirloom items. He braids and hand stitches scraps of fabrics breathing life into inanimate objects. He began creating limited edition dolls for an exclusive clientele and interest quickly spiked.
The materials of his work, ranging from denim to silk play a role in coding the personality of the object. Form and aesthetic humanity collide to define a new way of looking at beauty. Part of the narrative backstory is the object itself: bricks from construction sites or rocks from Mendocino or Japan are transformed into texture-rich elevated art.
His objects range from dolls to bags to mats. They take on distinct personalities and verve. They dare you to take them home.
But as life forces you to evolve, Llane Alexis realized that there was a second layer of his own interest. Using discarded byproducts of the analog and digital age (ie: Victorian chandeliers, mid century stools, discarded Apple computer screens), he wove his hand-braided fabrics to transform the ordinary to the extraordinary.
Llane Alexis is deeply influenced by his culture. Growing up in Cuba, he saw his aunts weaving and coiling materials while watching tele novelas and it guided him into his path as an artist.
His perspective as an activist is inextricably tied to his philosophy as an artist. The current political state of the country has awoken an interest in transparency both in art and life.
Llane Alexis currently lives in San Francisco.
The work of Atlanta based artist Horace Imhotep is steeped in familial bonds and ancestral roots, as well as the often dark historical truths of American history. In this inaugural body of work titled A Letter From the South, we see no conclusions to the darkness, no neat pathway leading us towards progress. Instead, we witness the tying together of a centuries long narrative, reflected in the ongoing struggles of today. It is a reconciliation with the past, the recognition of the present, and a defiant act of taking ownership of the future.
Of the post-black art movement, Imhotep’s work makes a commentary on racial matters and the black experience juxtaposed with the mythology of race. One could say that the pictures are a litany of sad songs sung stoically, yet for Imhotep, they illustrate a journey towards personal resolve. The artist utilizes satire, bold color and a contemporary sensibility to embolden the cause of social justice, rebuke the commercialization of oppression, and elegantly capture the essence of an America grappling with the turmoil of a dream deferred.
Painting in the languages of advertising and pop surrealism, Imhotep neutralizes historic, political and often racially charged imagery as a way of converting these painful visuals into relics of a bygone era. However, he does not fool himself with temporary optimism as we see daily that history often sadly repeats itself.
Special thanks to Teri Anvid for proposing this exhibition and for giving her production, and curatorial support.
CHUUUCH 2016 A Letter From the South series 30in x 30in acrylic
A Tasty Morsel 2014 A Letter From the South series 4' x 5' acrylic
The Future - Mike Brown (part of a tryptic) 2016 A Letter From the South series 4' x 4' mixed media + acrylic
Òmó Oba Adetomiwa Adekanmbi Gbadebo was born in Nigeria to the royal Gbadebo family of Abeokuta, the Royal family of Ilé-Ifè, and the Oshodi Tapa of Lagos. HRH Prince Adetomiwa uses this Yorùbá heritage and his personal life experiences to create an art based on emotion and the journey that life lays before man.
Adetomiwa’s practice is cloaked in tradition and a deep sense of commitment to self expression. As he works, multiple ideas develop in his conscious and subconscious mind. These ideas evolve into languages of spiritual strength, guided by Ifá religious philosophy, and the Orishas - spirit ancestors of the Yorùbá people. As an artist Adetomiwa powers his creativity through the natural balance of his whole being. The work is totally representative of his authentic identity as a son of Africa – unwilling to conform to any social narrative outside his own reality. Prince Adetomiwa seeks to use his work as a tool to break the divide between Africa and the Diaspora, and to create a greater sense of global community between all peoples.
Focused on the issues of today, the Prince offers a contemporary application of the cultural, theatrical and oral traditions of the Yorùbá people. Each piece is its own divination - its own living shrine, the destiny of a singular moment. What has been created intends to influence the viewer to truly see that which they are choosing not to see; to question all solutions given, while selflessly aiming for positive progression. His artistic offerings are meant to contribute directly to the global dialogue on prosperity, disparity, social advancement, and strife. He would like to challenge people’s previously unquestioned intellect to inspire greater equilibrium in life.
For the exhibit, Ọba Kò so - Erú Ko Si Siwaju Sii (The King Did Not Hang. Slaves No More.), Adetomiwa urges to viewer to ponder the idea of natural order and balance. Nature and staying connected to the earth is central to the theme, while community is at the heart of the message. He is showing us that like his art, we as a people are individual creations that work naturally in concert with one another. Together we are one community. Through connection to surroundings and self, the Prince believes that we are better equipped to attain greater authenticity, and freedom of being.
Prince Gbadebo sits on the MAEP board at the Minneapolis Institute of Art, and has recently exhibited at the Istanbul Art International, and the International Exposition of Contemporary and Modern Art, art fairs. Adetomiwa spent time this past summer as an artist in residence at the invitation of the Chiesta Evangelica Metodista in Florence, Italy.
Solo Exhibitions 2015 Ọba kò so - ẹrú ko si siwaju sii, City Wide Artists, Minneapolis, MN. 2015 A-FREE-CA, Artist in residence, Chiesa Evangelica Metodista, Firenze, Italia 2015 Awọn ọmọ Odùduwà, Phantom Gallery, Superior, WI
Group Exhibitions 2016 "City Spit", City Wide Artists, Minneapolis, MN 2015 FLAUNT: AFRICA NEW WAVE, Ethan Cohan Gallery, Chelsea, Mangattan, NY
2014 Contemporary Nigerian Art, South Shore Cultural Center, Chicago, IL
International Fairs 2015 “Chicago International Art Fair,” Pearl Lam Galleries Chicago, IL 2015 “Istanbul Art international,” Pearl Lam Galleries Istanbul, Turkey
Panel / Board 2014- Present: Minneapolis Institute of Arts, MAEP (Minnesota Artist Exhibition Program - challenging new artists and exhibiting established artists with the emphasis on artistic & ethnic diversity in bringing about progressive changes in the art world). Minneapolis, MN
Inspired by his Southern upbringing and experiences with martial arts and other violent subcultures, Eric Yevak creates multimedia art representing both physical and material strife. His work embodies the belief that struggle is a form of enlightenment and he finds ultimate beauty within conflict; the focal point being that brief moment when both forces are equal. His atmospheric works are seen as meditations on the tension between purity and violent aggression – religious other-worldliness and human struggle.
Yevak begins by creating his images digitally, working out hundreds upon hundreds of designs using various programs in order to randomize images. He incorporates modern graffiti methods, Arabic calligraphy, projected images, and classical Rococo patterns. The images are cut up, reassembled, painted, collaged, drawn, hung, and layered with industrial resin (a process which occasionally creates a chemical reaction between resin and ink). He repeats this until coming to an image that “has its own weight” - a sense of surface, texture and tone. This process relates to Eric’s work being rooted in violence - constantly deformed and reassembled until the piece reaches its breaking point and is seen as a complete work by the Artist.
Featured in various solo and group shows across the United States, Eric strives to bring the religious indoctrination of his youth, and his sensibility for struggle to life through his work. The goal of his practice is to reach a transcendent moment through action. It is a meditation on flatness, on depth, on beauty - on being all in.
In For a Penny, In For a Poundis a CWA selection of new pieces made with a computer, and with spray paint. It is about the enjoyment of the moment when mediums collideand get lost within each other. The theme centers on loss - of self, of moment, of belief - and the search for the sublime restoration of wonder.
To become one, to not be alone. This is the master narrative.
Recent solo exhibitions: 2015. Head Heart Head, Quirk Gallery, Richmond, VA 2015. In For a Penny, In For a Pound, City Wide Artists, Minneapolis, MN 2014. Competition Team, Eric Schindler Gallery, Richmond, VA Recent group exhibitions: 2015. PURITY and CONFLICT, w/Kathryn R. Miller, Art Leadership Program, Minneapolis, MN 2015. In The Cloud, Ethan Cohen Fine Art, New York City, NY
Born in 1975, Eric Yevak has a BFA from Virginia Commonwealth University, and currently lives in Minneapolis while pursuing an MFA at the Minneapolis College of Art and Design.
comp 684 In For a Penny, In For a Pound series 36x48 inches ink-jet ultra chrome, acrylic and resin on wood 2015
comp 712 In For a Penny, In For a Pound series 44x72 inches ink-jet ultra chrome and spray paint on paper 2015
Comp 703 In For a Penny, In For a Pound series 44"x72" Ink-jetultra, chrome and spray paint on paper 2015
Igor was born in 1983, in Kavadarci, Macedonia. Based in San Francisco - he exhibits his art as well as performs internationally. Josifov is famous for the diversity of his multiple works, and the way in which he uses the human body to share his thoughts on our contemporary world. In his role as a performance artist, he draws on all types of media to create his performance installations. As visually striking offerings with various metaphoric meanings, his work has a touch of theatricality.
Most Recent Solo Exhibitions: 2015: Taming Fire, CWA/VMGInc. Minneapolis 2014: Art Paris, Paris France 2-Dimensional, Onassis Cultural Centre, Athens Taming Fire, Northcutt Steele Gallery, Billings Igor Josifov, Yellowstone Art Museum, Billings 2012: Igor Josifov: Selected Works (2007-2012), Museum of Contemporary Art, Skopje 2-Dimensional, Abrons Art Center, New York 2-Dimensional, Le Quartz dans le cadre du Festival DansFabrik, Brest 2-Dimensional, Museum of Contemporary Arts, Skopje 2011: 2-Dimensional, Maraya Art Centre, Sharjah 2010: Manumission, National Museum of Art, Cetinje Igor Josifov - Selected Projects, MAI, San Fraincisco 2-Dimensional, MAI West, San Francisco
Selected Group Exhibitions: 2015: Living With Endangered Languages, Root Division, San Francisco 2014: Osten Biennial of Drawing, Skopje 2011: 2-Dimensional, Maraya Art Centre, Sharjah Al Ghaib - Aesthetics of disappearance, Al Qasba, Maraya Art Centre, Sharjah Present Memories, Perforation Festival NYC, New York Pogledi/Views, Blok Gallery - Belgrade (Organized by the Museum of Contemporary Art in Skopje) 2010: Marina Abramovic: The Artist is Present, MoMA, New York Works that Disturb the Moonlight, Alphonse Berber Gallery, Berkeley
Igor Josifov is managed by, Al'Myra Communications 560 Haight Street - Ste 101 San Francisco, CA 94117
Firing-0 - 2015 Decompression Reflection Series 18x24 in. Burned Paper