December 2006

Myths and legends are with us everyday. A dictionary definition of the word myth says it “…explains some phenomenon of nature…usually involving the exploits of gods or heroes.” People, as natural phenomena, ask the eternal questions “Who am I?”, “Where do I come from?” and “Where am I going?” We all have unknown myths within us to answer these questions and my work comes from that unknown place. My myths come from everyday materials. Once I’ve collaged paper bag, cardboard, etc into a canvas, I’ll round out a “Rorschach” image with pencil, charcoal and paint.

November 2006

I spent five months in Japan and it truly influenced the way I see myself in this world. I never felt so alone and so different in my life. No matter how hard I tried, I could not fit in. I was the outsider, the Gaijin. And the culture did not accommodate for my differences which only added to my vulnerability.

My series demonstrates the political and social struggles I encountered, and more specifically, that my feet encountered. I let my paintings of feet and shoes represent the cultural struggles I experienced while in Japan. In the Japanese culture, feet and shoes express a great deal and because of that, I felt I could never fit in. As much as I would try, my feet always got in the way.

This series expresses the Japanese shoe fashion, and more deeply my struggle to connect with their culture. The shoes are hidden stories, the protector, and the shield to hide the mystery unseen.

The process and materials demonstrate the vulnerability of the cultural struggles. I paint on large sheets of paper, which connects me to the memories. Because of my limits to supplies, I painted only on paper and mostly newspaper when I was in Japan. So for this series, paper seemed only appropriate.

My painting style is to build up texture with the paint. Drips, scratches into the paint, layers of gesso, oil pastels…many layers of texture. I also use layers of color throughout the process to create vibrant colors. In this series, I attached images from Japanese newspapers to amplify the emotional and political struggles I encountered. The images drawn onto each painting are quick contour drawings with oil pastel.

Oddly enough, my series helped me reconnect with Japan. Although the cultural differences will always be there, I no longer feel like the outsider. Whereas I am not Japanese, I do not feel like the Gaijin either.

October 2006
“But can you get there from here?”

Look inside the glass window of Art on Armitage Gallery at 4125 W. Armitage during October to see Rose and Thomas as they map out their trip in this interactive journey with an installation and performances every Friday from 6:30 to 8:00. Rose and Thomas invite adults and children to join them on this journey.

The artists are graduates of Columbia College Chicago. Thomas received his MA in 2002 with a concentration in sound and video installation. Rose earned her MFA in 2003 with an emphasis in performance, installation and artists books. Both teach at Columbia College.

Rose has exhibited and performed her work internationally. Travel has been a big part of her life; she has lived in Wales and Saudi Arabia and taught in Italy and Cyprus. This is her third performance and installation at Art on Armitage. “Because of its location there is a direct and fresh interaction with the viewer which has become instrumental in the growth of my work. The gallery is very much a part of the neighborhood and it is great fun to perform there.”

Thomas lives in the neighborhood and is excited to show his work there. He too has traveled extensively and is particularly interested in the mapping of physical and mental spaces. His work has recently been exhibited at the Santa Fe Art Institute and in the Hyde Park Art Center’s Sound Canopy Project.

September 2006

THE SAINT CHILD OF ATOCHA

The story of the Saint Child of Atocha dates back to the 13th century in the town of Atocha, nowadays part of Madrid, Spain. As the story goes, the town had fallen under the domination of Moorish invaders. The local men were imprisoned and only children were allow to visit them, bringing along their only supply of food. For days, they prayed to the Virgin of Atocha for a miracle, when the prisoners reported seeing a child coming into their cells at night with a basket filled with bread and a gourd of water. The child was dressed as a pilgrim and since then has been represented seated with open arms.

The artist has used this old story as a point of departure and reference for his mural-size retablo painting. Retablos are usually intimate paintings done by people who are not necessarily artists, to thank saints and virgins that came to their assistance during tragedy, illness and difficult
moments.

The painting is layered with references to Santeria, the syncretism of Catholicism with Yoruba beliefs, where the Saint Child of Atocha is associated with the Orisha Eleggua in his role as the gatekeeper, patron of prisoners, owner of the road. It also points to what seems like eternal conflicts and unresolved religious and cultural issues between Islam and the Catholic Church. Atocha is also the name of the train station in Madrid where the terrorist act of March 11, was perpetrated. 800 years after the Islamic Moors lost control of Spain, the conflict between Christians and Muslims re-manifest in modern times.

August 2006

Michael Angelo Gagliardi was born in New York City in 1962 to Irish and Italian Parents. He received a B.F.A. in painting and sculpture and a M.A. in Theatrical Design from C.W. College of Long Island University in 1985. He has, since 1989, lived in Chicago where he works as a Stagehand doing sets, lights and props for Broadway Musicals.

“When I enter the studio to paint or sculpt it becomes a journey inward. It is an inward journey to find a simple truth about a feeling or emotion. I hope to create works that are simple truths. I want the viewer to say “this work understands what I am feeling”. I want this to happen without words or definitions. I want it to happen deep within the viewer on a subconscious or primal level.”