October Group Art Show to host local and national multi-media artists including:
First Friday Show, October 1st. Open 10am.
Artists Reception from 5:00 to 9:00p.m.
Open daily 10:00 a.m. to 6:00 p.m. Closed Sunday
Jones Gallery
1717 Walnut. KCMO. 64108
816 – 421-2111
https://jonesgallerykc.com
Teresa Magel’s work are not only definitions of what Femininity is but also a dialogue of what internal femininity looks like. The aesthetic beauty is visible because of how Teresa chooses to see the world. True feminine beauty is visible only because it is a reflection of all aspects of what she believes the essence of being female is. ” It is being beautiful outwardly because your soul is truly beautiful. It is displaying strength and persevering amidst vulnerability. It is defining and loving yourself un-apologetically. Its loving yourself unconditionally so that you may be love to others, Beauty.”
Teresa’s figures are often identifiable by their large coiffures of hair and their dreamlike eyes, lending them a sense of serenity and ardor. Teresa will also integrate elements of nature to elicit a feeling of passion and showing grace, such as butterflies, bees, dragonflies and hummingbirds.
“… come celebrate
with me that everyday
something has tried to kill me
and has failed.”
‑Lucille Clifton
on the bridge between is a collection of mixed media collage works born from a year of exploring notions of resilience and the myriad ways humans choose to lean into life while on the bridge between those everyday realities that have the power to destroy us and the somethings beckoning us to keep going in spite of it all.
Here is a collage of language from my studio notes during the creation process of this body of work. Let them serve as my artist statement:
My days consist of a steady intake of news, ideas and poetry that speak to what it means to be human in the world. In this studio I take what I digest, literally deconstruct it and reconstruct it into something new that stirs or opens up the imagination to new possibilities. Something enticing, aesthetically pleasing. This daily act of re-imagining invigorates, heals and keeps me keeping on.
This work so far allows me to engage the everyday realities and traumas of life without drowning in despair, grief and anxiety. It’s like I’m simultaneously dreaming and praying with my hands on each piece— pushing back against those aspects of life that push hard against me… against us.
Each piece is full of half-hidden truths abstracted from each layer that you have to lean in close to see; and even then it requires further thought and investigation.
My love affair with color, texture, symbols and metaphor continues.
Blue… it is the color I often see when I take that journey inward to illuminate that dark wilderness Baldwin talks about. It is the color I feel and perceive when I engage the world in which we inhabit and create. It is the color of the things that move me to stillness and compel me to exhale deeply. It is the color of breath. It is a color that feels like home; while also, at times, feels so very far away.
Green is life.
Lucille Clifton’s poetry has been a gracious and generous companion.
ABOUT THE ARTIST
Lanecia Rouse Tinsley is a multidisciplinary artist based in Houston, TX. Her portfolio includes a range of abstract painting, photography, teaching, writing, speaking, and curatorial projects for local non-profit organizations. Lanecia creates work that focuses on liminal space, on the not-yet-formed possibilities and depictions present in materials and their presentation that point towards “otherwise” possibilities and the everyday quests humans undergo to construct meaningful and content lives. Her work is the product of contemplative and intuitive abstract mixed-media practices and is informed by sociology, theology, culture, poetry, and history.
Lanecia is the 2020 – 2021 Artist-in-Residence for the Center for Engaged Research and Collaborative Learning (CERCL) at Rice University and is also the Artist-in-Residence at Holy Family HTX (2017-Present). She is a Co-founding Creative Director for the ImagiNoir Equity Group, an international alliance and community development and equity group of black activists, artists, writers, scholars, philanthropists, and educators. In addition, she is the Director of Justice and the Arts with projectCURATE.
Lanecia has exhibited at Urban Zin Gallery, New York City, NY; Collect it for the Culture, Houston, TX; Houston First Corporation, Houston, TX (2021); Inman Gallery, Houston, TX; Project Row Houses, Houston, TX (2020); Urban Institute for Contemporary Arts, Grand Rapids, MI; Forth and Nomad Gallery, Houston, TX (2019); American Church in Paris, Paris, France where she did a 1‑month residency (2018); and Fourth Chapter Gallery, Kansas City, MO.
Lanecia is a graduate of Duke University Divinity School and Wofford College.
Website: laneciarousetinsley.com/
Derek Au, Eliza Au, Yewen Dong, Sin-ying Ho, Jing Huang, Nuokan Huang, Wanying Liang, Shiyuan Xu, ChengOu Yu
Belger Crane Yard Gallery presents Journeys opening Friday, October 1, 6 pm – 8 pm at 2011 Tracy Avenue, Kansas City, MO 64108. Artists’ remarks at 6:30 pm. The exhibition will remain on view through January 8, 2022.
Journeys features the ceramic works of nine artists who were either born in China or are of Chinese descent. The exhibition explores themes of identity in a multicultural world, examining both the juxtapositions and intersections between Eastern and Western cultures. Duality and the vacillation between two worlds is present within each artist’s body of work as well as throughout the exhibition.
The passage of time is captured in the crumbling facades of Yewen Dong’s two large-scale wall works. These unfired clay tiles explore the residual traces of touch and memory. Memory also plays a role in the floral porcelain pieces by Wanying Liang. Liang’s works give form to her memories of childhood in China, the questions she has for her mother, and personal struggles with her own body. The physical and mental distance between past and present drives the work of Jing Huang as she constructs ambiguous landscapes that are neither here nor there. Eliza Au utilizes computer-aided methods to reference historical architecture. Au’s wireframe-like pieces explore the limits of interior and exterior space, strength and fragility, and reference both mathematics and the patterns of religious ornamentation. In his series “Simulant,” Derek Au toys with concepts of authenticity and tradition with his use of alternative materials to mimic traditional Chinese porcelain and glaze. Fragility and strength, order and chaos, simplicity and complexity are all present in the amoeba-like forms of Shiyuan Xu. Xu’s porcelain structures reference cellular organisms and the rhythms of growth in response to internal and external forces. The relationship between position and perspective is central to the work of ChengOu Yu as he explores the way experience is distorted based on location. The tiny pottery landscapes of Nuokan Huang feel both contained and limitless – delicate scenes of personal space and boundless imagination. In contrast to the minuscule works of Nuokan Huang is the human-scale vessel of Sin-ying Ho. Ho’s work is covered in cultural, religious, and economic symbolism and touches on themes of dislocation, globalization, and identity. Journeys encompasses an intense blend of imagery combined with traditional and contemporary fabrication techniques and embodies a complex collision of cultures.
