I am excited to announce that some of our Okie Collective artists (including myself) have been chosen to participate in “Redline,” a special Capstone exhibition curated by our very own Molly Youngblood. Molly was kind enough to give us a exhibition release on Redline. The reception for Redline will take place on Sunday from 4-6 pm at the OU Visual Arts Research Annex immediately following the University of Oklahoma’s Senior Capstone.
‘Redline is an curated exhibition featuring works of seven Senior Capstone artists – Jessica Ann, Cameron Logue, Matt Magill, Samantha Marquette, Eric Piper, Elliott Robbins, and Anna Thomas. The exhibition acts as a retrospective of each artist, presenting works which illustrate their time and progress during their undergraduate coursework at the University of Oklahoma.
The term “Redline” is defined as the fastest, farthest, or highest point or degree considered safe; The artists present have worked to the limits of their means and within binding guidelines and deadlines student artists face. Each artist highlighted has pushed the boundaries of their mediums and concepts, often times crossing the line of what is acceptable, what is desired, or what is expected from art. Painting, printmaking, sculpture, film, video, and technology art will be featured.
The exhibition acts as a final Capstone project for senior Molly Youngblood, a media arts major, involved with study in the field of curation as a Capstone thesis.
The exhibition is located at the Visual Arts Research Annex, located at 3506 Bart Conner Drive, off 36th Avenue NW in Norman. An opening reception will take place Sunday, May 5th from 4:00-6:00PM, directly after the opening of the Capstone show in the Lightwell Gallery. The gallery will be open 3:00-6:00PM on Sunday, as well as from 12:00-3:00PM on Friday, May 10th.’
- Molly Youngblood
Today is a special treat. We want to show off the amazing crazy person that is Cameron Logue. When I first met Cameron it was in my first art class peeking over into his sketchbook. It took a whole millisecond to realized I was standing in the presence of a figurative master. And in the best description I can give of Cameron is that he is a guy that puts lots of thought behind sketches. He fills sketchbooks with super fine pencil drawings and will take a single character and illustrate it in different styles, with variations on accessories, positions, and etc.. I am amazed how he can take cartoonish culture and turn it into pieces that have crazy depth.
Cameron grew up watching Saturday morning cartoons and using them as his church. They taught him moral values, lifted his spirits, and instigated ritual worship over toys, breakfast cereals, and other merchandise. He lacked a regular religious upbringing, and whether he was aware of it or not, he found ways to fill this void throughout my life with comics, animation, and toys. These sources now influence his art to various degrees, as I attempt to resolve my spiritual needs with the superficiality of modern entertainment. His paintings feature bright colors, distorted cartoon idols, and abstract patterns which suggest the movement of the cosmos seen through a sugar-rush. He values the weird, the grotesque, and the impossible human desire of the mind to be free from the body. The subjects of his work become avatars of these qualities which have consumed humanity throughout history, but have taken on new dimensions in our plastic age.
Cartoons and video games that you get fed as a kid… To me, it had not really hit that it was merchandise yet, that there was any ulterior motive behind it. They were just there and they were magic. It was some sort of divine message. As a kid, I did not believe in one thing, I believed in everything. I did not grow up going to church, [although] I had been to church a few times, so without that kind of a background, stories from the bible were another one of these things. It was not like I thought I would get Superman knocking at my door or something, but it was easy for me to imagine the possibility that this stuff existed somewhere, even if I would never see it.
It was always really idealistic but as you grow older you start to face really dark material – real word things like mortality, old age, sickness and death. It became just another different kind of fascination, because it was something that was unsettling to me. That became a period of my life where I tried to find more serious spiritual substances… The fact is that this is what I am, this is reality and horrible things can and do happen.
In the art I do now I try and find a mix of darker things because I find approaching everything with that complete childlike abandonment, sugar rush superficiality comes off as a little false, because it’s not who I am anymore. I am trying to integrate more of my complete person by integrating it with what I got now.
This Saturday, July 7, Okie Collective will have a booth at Our Sky is Falling’s Album Release Show at the Conservatory in OKC. We will be selling shirts and other super sweet items from the Okie Collective Store. So come hang out and say hello and check out all the cool things that we are doing with Okie Collective.
Theresa Hultberg is an artist native to Oklahoma City, working in the fields of painting, printmaking, and curating.
An analysis of self-perception, resulting in realization is a driving concept of Theresa’s work. She pulls from emotion gained through experience as an artist and presents contradictory perceptions within a piece, commanding the audience to become aware of their own personal relation to the artwork and to then consider and reflect on this connection.
Recently, Theresa has had the honor of participating in La Calaca Press International Print Exchange. Her work will be seen alongside artists working in a variety of printmaking techniques in the international art scene. See the selected lithograph on her featured post here.
In the upcoming months, she will be working and researching in conjunction with the Fred Jones Jr. Museum of Art to curate a show featuring student prints as well as works from notable artists of the Op Art Movement – Victor Vasarely and Bridget Riley.
For the last two weeks, the mobile printing studio known a “Drive by Press” has been running a workshop in Norman at the OU School of Art. I have been lucky enough to participate in this workshop to help learn all those techniques that let print makers do what we do. Check out the pictures that will be at the bottom of this post. The workshop is run by Joseph Velasquez, Greg Nanney and John Hancock teaching the workshop and doing an amazing job.
Drive-By began with an etching press in the back of a truck and a small collection of prints, and now have three three mobile operations visiting over 260 schools visited with 250,000 miles traveled. They have also collected one of the largest contemporary collections at well over 2000 prints and growing. They educate students in various techniques, and current trends in printmaking. DBP also sells woodblock prints and t-shirts. There style can be described best as old school with the process being based on the 800-year old technique of wood-block printing.
Ryan is an artist who prefers to deal with issues concerning the human psyche. He enjoys enveloping himself in thought and using what thoughts come to mind as the theme for most of his work. The issues he has dealt with in his past are what drive his artwork today. Having this as part of his process can normally yield results that are unfiltered, and that tend to shock or offend some people, and he enjoys that fact. The moment in which his audience is shook from their protected reality is satisfying.
Today we are trying out a new type of post that we’re calling a Quick Pick. We want to share amazing work of artists outside of the Collective. Our first Quick Pick will be painter and sculptor, Anna Thomas.
Anna is a native of the 918 area code and is currently working on her degree in Fine Art. Anna’s work focuses on the human body and abstract forms. What she does forces viewers to rethink the body in a different way. If you attended the most recent Momentum art show in OKC you might have seen the wax wall piece she showed that has been added to this post. This post also has other selected works that everyone should really check out.
Our friend and favorite artist Thomas Shahan just had an article posted about him today.
Go check it out Here.
Eric Piper is a southwest artist with punk, occult, and existentialist roots. Working with mediums ranging from bronze, cardboard, fabric, to spray paint, blood, oils and found trash. Concepts span from “creating black-holes in the audiences subconcious persona” to the tragedy of not having enough money for cigarettes. Trying to pull all the words and preconceived ideas we as humans have about ourselves and the world away from it, allow us to stare into the chaos and meaninglessness of the universe, reapply meaning, and connect passionately with the the everything. Useless and absolutely necessary.
Friday the 13th, July 13th 6-10pm
During LIVE on the Plaza!
1701 NW 16th St
Oklahoma City, OK 73106
Where are you from?
I grew up all over the place. Actually, I was born in Texas and dad was in the military so we moved around for a while, but the longest part of my childhood was spent inside Lawton, Oklahoma.
Home much does being an Okie influence your work?
I think Oklahoma has a huge influence on all the work I produced. It’s really interesting, because it’s got so much potential, and we’re located in an amazing spot. Everybody is open to these creative ideas we’re making, and the important thing is to stay up to date with what contemporary artists are doing, what contemporary anything, I mean, music is also a huge thing.So, if you’re looking out there, and you’re bringing it here, there’s awesome potential.
What kind of art do you associate with?
I like to look at myself as just really everything. Right now, recently, I’ve been really into printmaking, but sculpture has a deep warm place inside my heart. I love DIY anything, I think that would be kind of the core of my favorite aesthetic: taking stuff and putting it together with any mean that I have. With cardboard and gold spray paint, you can do insanely badass, you can do anything with the materials around you.
Can you describe your studio space?
Dude, my studio space is like my cavern of creativity. I love it. I feel more attached to the studio space than I do my house. I feel more at home inside of it. To cover up the walls with whatever you want to – extremely important inside my creative process.Just submerging myself with things that I look up to and admire and things that I kind of detest that will kind of pull at me in those certain ways, too.
I think as an artist, anybody as an artist, that’s more of our job, because we’re able to filter the raw information that we’re given and interpret it however we want to. And so we’re kind of this connection between the outside world and our inside world and then kind of spitting it back out so we can see how we refract all the information that goes through us.
How do you feel about combining printmaking and sculpture?
I think the less rules I put on myself, the easier it is for me to make work. If I go into a project and I think I’m going to combine these two things or I’m not going to combine them, then it kind of limits me as I go through. I rather approach it and just start building something and then whenever it pops into my head, it’s like “Oh, dude, I can cover this in prints and it would look radical that way,” then I’m going to go and cover it in prints. Just leaving it open, I think that works the best for me.