April 8- May 7, 2017
Opening reception Saturday April 8th, 6-10pm
Material Witness showcases artists whose work agglutinates rather than distills. These are slow motion fermentations that act as antidotes to dematerialization. In their uniqueness these works resist fungibility and insist that we stand still enough to bear witness to the materiality of the worlds we inhabit. At turns playful and dark, whimsical and contemplative, Material Witness embraces the process.
Ben Godward was born in Indianapolis, grew up in St. Louis, MO and received his B.F.A. at Alfred University and an M.F.A. in Sculpture from the University at Albany. After Albany, Godward moved his studio to Brooklyn, where he currently lives anf works. He has shown extensively in NYC including at Sardine, Fortress to Solitude Lesley Heller, Moti Hassan, The Laundromat Gallery, Pocket Utopia, Centotto, Famous Accountants Gallery, Way Out Gallery, NYCAMS, Norte Maar, Storefront Gallery, Factory Fresh and Orgy Park among others. Ben has also completed large outdoor public art projects at Franconia Sculpture Park in MN and Socrates Sculpture Park in Queens, NY. Ben’s work has been featured in The L Magazine, The Brooklyn Rail, Sculpture magazine and on WNYC Radio.
Stephen Collier received his BA from the University of New Orleans. His work has been exhibited at the Bronx River Art Center, the Soap Factory in Minneapolis, MN, the Contemporary Art Center New Orleans, the Lincoln Center in New York City, and numerous galleries in the United States. His work has been is discussed in the New York Times and Wall Street Journal, BOMB Magazine, and Art Forum. He has been awarded residencies with the Santa Fe Art Institute, the Lower Manhattan Cultural Council, and Louisiana Artworks. Collier has received a grant from the Joan Mitchell Foundation and Warhol Foundation and was recently included in the 2016 Atlanta Biennial. He co-founded the co-operative space Good Children.
Rema Ghuloum currently lives and works in Los Angeles, CA.
Rema received her BFA in Drawing and Painting from California State University, Long Beach in 2007 and her MFA from California College of the Arts in San Francisco in 2010. Rema was a recipient of the Esalen Pacifica Prize in 2012, the Joan Mitchell Foundation Grant in 2010, and the Max Gatov award in 2007. Rema will be an artist in residence at the Joan Mitchell Center in New Orleans in 2017. Rema has exhibited nationally and internationally at venues like the Cue Foundation, UCLA's New Wight Gallery, Sonce Alexander Gallery, George Lawson Gallery, UC Berkeley's Worth Ryder Gallery, Torrance Art Museum, and Arka Gallery in Vladivostok, Russia. Since 2012, Rema has been one of the four members of the curatorial collective – Manual History Machines.
Rachel Jones Deris
A native of Antlers, Oklahoma, Rachel earned her MFA in Drawing and Painting at the University of New Orleans in 2008. Rachel has shown nationally and internationally and her works are part of many private collections. In 2009 she mounted a duo exhibition at the New Orleans Museum of Art. Rachel’s work has been reviewed in national publications, including ArtForum, Art Papers, the New Orleans Art Review, and TimeOut Chicago. In 2008 Rachel co-founded The Front.
Russell Borne received an M.F.A. from Cranbrook Academy of Art in 2014 and went on to hold a faculty position in the Department of Art at Oregon State University. He currently holds a position as Art Director at the Japanese based company Snow Peak Inc. as well as exhibits in galleries from Portland, to New York City.
In his work, you are asked to question the relationship between true experiences and a constructed ones. To find what constitutes feeling, and invert our relationship to objects or images forcing us to reconsider it and become in awe of its newness?
Nadine Beauharnois is a sculptor living and working in Philadelphia and is a member-owner of the artist run gallery AUTOMAT Collective. She presently works with a variety of materials to make sculptures that examine the nature of human experience as a combination of the awkward, painful, and humorous. Her sculptures are humble objects. They sag and bend. Some may appear to be injured or have parts missing. Bodily elements like nondescript appendages or eye or tongue-like shapes, tentatively reach or suggestively thrust, implying unsettled humor. The textures and colors in her sculptures are often in response to visual stimuli like richly patterned textiles or sea grass plastered to a cliffside. Nadine exhibits actively and was included in the most recent Northeast issue of New American Paintings.