“What do You Think of Me?” developed during  the Sumu art residency, Finland .

Kika Nicolela’s

“videos have thickness, are made as fabrics meant to be touched; have texture, density; they seem to be made of cross-stitch or embroidery. Not only the revealed content is rich in significance and layers to be unveiled, but also the aesthetic is like a brush at work. We can perceive a same fingerprint that embraces them all: the body, its verses, reverses and knots, its relation to the urban and organic surroundings.”

I WOULD BELIEVE ONLY IN A GOD WHO COULD DANCE, by Daniella Samad. This essay was conceived to introduce the exhibition KIKA NICOLELA | SELECTED VIDEOS AND PHOTOS, June 12 – July 08 2009, at the 16mm, London, UK.

·      You are working in different directions, how would you describe yourself? Which are the ideas and the concepts underlying your work?

I have been described as filmmaker, videomaker, videoartist, new media artist, multi-media artist, electronic artist… Any of them would be ok, I guess, but I would describe myself as an artist, plain and simple. 
I’m concerned with examining the connections between the camera, subject, author and viewer. I’m interested in issues such as the construction of identity, communication and voyeurism. I also investigate how the relationship between our body and the surrounding world (ie. nature or urban settings and culture) shapes our identity.

·       Can you describe the evolution in your work? What it is the process in the making of your film? How much do you plan in advance and how much do you improvise? For example, do you write scripts for your films?

Each of my films has its specificity, in its concept and also in the creative process. But one thing that they all have in common, is that I think it’s important to prepare for the shooting in detail – I almost always prepare a shot list, which is a kind of blueprint for me during shooting, and sometimes I do some tests with camera or rehearsals with the actors/dancers – but I am very interested in putting my “subjects” and myself in a situation that takes us out of our comfort zone. My videos are really about that: about creating a set up in which me and the subjects are obliged to face a strange or unique situation, and in this process we reveal a lot of ourselves. The “subjects” I am talking about can be actors, dancers, performers or “real” people, in the case of my videos that are closer to documentaries. In some more recent works, I have also been putting myself in front of the camera, as in the video “What do You Think of Me?” developed during my time in Finland at the Sumu art residency. 
Therefore, I do plan a lot in advance, but improvisation plays a major role in my creative process. I never write scripts for my films, not in the classical sense. But I do write a lot about I am going to do, I research about the theme or subject I am approaching, and I create this shooting list that is the base of the shooting. But it differs from a script a lot, because I know that I am going to be open to improvisation during shooting, and later again during editing. So the final result is related to this first shooting script, but not exactly correspondent to it at all.

·       Is there a particular artist or artists that have influenced you or that you particularly appreciate the work of? What are the main other influences and sources of inspiration in your work?

Ingmar Bergman, Wong Kar-Wai, David Lynch, Jean Luc Godard, P.T. Anderson, David Cronemberg, Peter Greenaway, Bill Viola, Chris Cunningham, Vito Acconci, Eduardo Coutinho, Andy Wharhol, Tarkovsky and Kurosawa are some of the artists/filmmakers that influenced or inspired me. Travelling, people and art in general are infinite sources of inspiration for me as well.

Ecstasy Poem (2006)

·       Advertising and art have always been related, and furthermore, they share the same theoretical basis, which is communication, although with different intents. I know that you also work in advertising. How much and how does this influence your work?

I rarely do advertising, but I am presently making a series of videos for an ad campaign. I think it doesn’t influence my work at all. In reality, I consider it an extension of my artwork. I can’t work on advertising unless I approach it in the same way I approach my personal works. I believe that my artistic voice is what can potentially bring something new or interesting to an advertising job, so I try not to separate things. In any work, I put my heart and soul in it. I don’t think I am capable of doing it any other way.

·       You are now showing work at Randall Scott Gallery, Brooklyn, NY. What is the piece about?

The piece is “Windmaker”, a 2007 video that was originally an interactive video-installation. It is a complex piece, but I can summarize like this (with a risk of being too simplistic): it’s about connecting to nature that contains both a life and a death force. It is ultimately about connecting with our inner nature, which can be very dangerous and scary, or it can lead us to a sublime state. Or maybe it’s just about searching for this inner peace. 
It was a pleasure working in this piece, because I had wonderful collaborators: the actress Luciana Canton, who really threw herself in this strange character, and totally got out of her comfort zone, mentally and physically; the French-Canadian musician Thierry Gauthier, who was sensitive enough to truly understand my images and directions and came up with this wonderful original soundtrack; and my cinematographer (and husband) Ching C. Wang, who pursued the image I had in my mind and was able to bring it to life.

Still from WINDMAKER, awarded Best Video Art at the A Corto di Donne short film festival, which was held in Italy, 19-21 June 2009.

·       Can you tell me a bit about the project you are going to be showing in Artists’ Television Access, San Francisco, California? What is the idea behind it?

We are showing the first volume of the Exquisite Corpse Video Project. It’s a series of videos made in collaboration with another 36 international artists. I coordinate this project since April 2008, and we are premiering the ECVP Vol.2 in Sweden this week as well.
 The first volume consists of 9 videos, with a total of 82 minutes. The creative process is inspired by the Surrealists’ exquisite corpse (or “cadaver exquis” in French) method of creation, but translated to video. So each artist makes a 1-minute video and sends the last 10 seconds to the next one in a previously arranged line; this next artist in turn makes his own 1-minute piece, starting with the 10 seconds he received. So the result is this blend of different artistic voices and approaches, which are all pieced together to become one exquisite corpse. This project celebrates the possibilities of bringing together artists from all over the word to work in collaboration. It is a very exciting project to work with, and it has greatly influenced me in many ways. More importantly, it is uniting this group of artists; so new projects and partnerships (and friendships) are being born thanks to it.

·       Any upcoming project you would like to share with us?
I will have an exhibition in Sao Paulo in November called ACTUS, for which I will make 3 new videos. They examine the ambiguity of acting.

http://www.dilemastudio.com

http://www.youtube.com/kikanicolela

http://www.vimeo.com/kikanicolela

Particles of Reality by Michal Rovner.
DHC/ART Foundation for Contemporary Art

May 21, 2009 — September 27, 2009. Montreal, Quebec, Canada.

Michal Rovner, solo exhibition at DHC/ART presents sculptures  and a series of video installations that evokes a natural history museum. Michal Rovner’s layered and intentionally ambiguous work touches on the processes of historical documentation, archaeology, science and choreography.

The exhibition features key works including DATA ZONE (2003), a group of long tables embedded with illuminated Petri dishes in which silent clusters of abstracted figures, which form and reform, evoke laboratory cultures. IN STONE (2004) and STONES (2006-2009) merge light with stone, combining the ancient and the modern, where archaeology is animated by quietly moving imagery, recalling hieroglyphs, petroglyphs and cave paintings. Finally, a series of mesmerizing video installations ORDER, MORE and CULTURE PLATE #7 (ALL 2003) featuring emblematic, anonymous figures in patterns, culminates in the monumental TIME LEFT (2002), a grand opera of isolation and connection, in which row upon row of human figures forming a vast wall text in motion, endlessly march across the entire perimeter of a room to an unknowable destination.

The exhibition is complemented by continuous screenings of BORDER (2000), a Kafkaesque, “fictional” documentary shot on the highly charged Israel/Lebanon border that muses on the ultimate validity of such an arbitrary designation, while attempting to locate and cross it; and THE MAKING OF MAKOM (2008), a video charting the construction of a sculptural project where the artist gathers and annotates, as in an archaeological dig, 60 tons of building stones from the remains of Palestinian and Israeli houses to build a deceptively simple structure.

Michal Rovner (b. 1955, Israel) studied photography, cinema and philosophy before co-founding Tel Aviv’s Camera Obscura Art School in 1978. She moved to New York in 1988. Her exhibition AGAINST ORDER? AGAINST DISORDER? at the Israeli pavilion was the most talked about installation at the Venice Biennale in 2003. Her work can be found in major museum collections around the world. She has had solo exhibitions at the Whitney Museum in New York and the Jeu de Paume in Paris. LIVING LANDSCAPE, a 13-metre-high triangular video wall interweaving hundreds of pieces of footage documenting Jewish life in Europe, is on permanent display at Jerusalem’s Yad Vashem. Rovner is represented by PaceWildenstein, New York, where she has had several exhibitions.

Take Care of Yourself  by Sophie Calle.

From July 10 to September 7  on July 10 at SESC Pompeia , Sao Paolo. Promoted by SESC São Paulo and Associação Cultural Videobrasil.

“I received an email telling me it was over.
I didn’t know how to respond.
It was almost as if it hadn’t been meant for me.
It ended with the words, “Take care of yourself.”
And so I did.
I asked 107 women (including two made from wood and one with feathers),
chosen for their profession or skills, to interpret this letter.
To analyze it, comment on it, dance it, sing it.
Dissect it.  Exhaust it.  Understand it for me.
Answer for me.
It was a way of taking the time to break up.
A way of taking care of myself.”

When a boyfriend dumped her by email, French artist Sophie Calle asked 107 women to read it.

Sophie Calle is a French artist who works with photographs and performances, placing herself in situations almost as if she and the people she encounters were fictional. She also imposes elements of her own life onto public places creating a personal narrative where she is both author and character. She has been called a detective and a voyeur and her pieces involve serious investigations as well as natural curiousity.

In this “tour de force of feminine responses… executed in a wild range of media,” Sophie Calle orchestrates a virtual chorus of women’s interpretations and assessments of a breakup letter she received in an email. In photographic portraits, textual analysis, and filmed performances, the show presents a seemingly exhaustive compendium with contributions ranging from a clairvoyant’s response to a scientific study, a children’s fairytale to a Talmudic exegesis, among many others. Examining the conditions and possibilities of human emotions, Take Care of Yourself opens up ideas about love and heartache, gender and intimacy, labour and identity. 107 women (including a parrot) from the realms of anthropology, criminology, philosophy, psychiatry, theatre, opera, soap opera and beyond each take on this letter, reading and re-reading it, performing it, transforming it, and pursuing the emotions it contains and elicits.

Further information.
Also: Subjetividades em Trânsito workshop by Kika Nicolela , 14 – 17 July, Sesc Avenida  Paulista, part of  Olhares sobre o acervo do Videobrasil.

The 12 videos that comprise the new volume of the project will be finished in July 2009.

Exhibitions have been scheduled at Fromverk, Sweden in September and Alucine, Canada in November 2009.

Chewing Color on MTV’s HD billboard at 44th Street in Times Square Presented by Creative Time, 44 ½. Video Exhibition Curated by Marilyn Minter. Screening extended through May 31.

Green Pink Caviar, a five-minute video by the artist Marilyn Minter

“I wanted to make enamel paintings along the idea of ‘painting with my tongue.” Marilyn Minter

Creative Time, 44 ½, is a series of provocative video works that screen hourly on MTV’s gilded HD screen in Times Square. The first installment, Chewing Color, was curated by artist Marilyn Minter as a means of investigating what she refers to as the “pathology of glamour.” The films include Patty Chang’s Fan Dance, Kate Gilmore’s Star Bright, Star Might, and Minter’s Green Pink Caviar. Onlookers may be thrown off by Minter’s models, which were shot on low definition video swirling and sucking bakery products from beneath a pane of glass — a distinctly different kind of “sexy” than the commercial advertisements plastered all over Times Square.

Still from Green Pink Caviar

Marilyn Minter continues her interest in blurring the boundaries between fine and commercial art. Co-opting advertising genres and related spaces, she takes a new platform to direct her first video. Green Pink Caviar (2009) is a lush and sensual voyeuristic hallucination. Filmed with macro lenses, she captures the most minute movements of female mouths licking candy and cake decoration.

For more on the work, visit Marilyn Minter’s own website.

Marilyn Minter’s Exhibition
Screening schedule may be found on Creative Time’s website.

_ poster by Adamo Macri  Canada Drawn together by the art that they share via the internet, artists with disparate cultural and aesthetic identities approach the internal workings that exist in all humans. Emotions are inherently difficult to explicate. How does one describe fear? We know it when we feel it but how can we share, through the paltry use of language, our experience of it? Moving images, mostly embellished with sound, extend the expressive possibilities beyond what can be accomplished through language or even static imagery. By employing the largest palette of creative possibilities, film and video artists from around the world strive to externalize those complex driving forces that we all enjoy and endure and that bind us, as humanity, together despite our differences. The project was initiated and it is managed by South African artist  Alison Williams. It was born online, an art web site and artist networking site to which all of the artists involved belong. Democratically organized, individual artists are seeking real world venues in their home countries for a work that, even a few years ago, would have been a logistic impossibility.

| neil howe Australia | meg oakley – Australia | glenn church UK | anders weberg Sweden | cristina valenca limeira USA | bill millett UK| mads ljungdahl Denmark |alison williams RSA | debbie douez Spain | jose drummond Portugal | niclas hallberg Sweden | robertina sebjanič & nika autor Slovenia | tatjana de luxe Germany | wilfried agricola de cologne Germany | adamo macri Canada | michael chang Denmark | alicia felberbaum UK | alberto guerreiro Portugal | ulf kristiansen Norway | christy walsh USA | manfred marburger UK | dave swensen USA | daniel chavez USA | masha yozefpolsky Israel | behjat omer Kurdistan, UK | hakan akcura Sweden | osvaldo cibils Uruguay | mike hinc UK |tristan mory France | richard jochum NYC USA | irina gabiani Luxembourg | simone stoll Germany | wilma kun Brazil | anna jaros Poland | anthony elliot UK | vienne chan Hong Kong,Canada | sue pam-grant RSA | michael ebert, axel ebert(Ebros) Germany (for Faticart Group) | gaia bartolini Italy | nicole rademacher USA |

Read about some of the artists taking part in  HEP Melbourne 2009

,,,, alison williams, ZA Cage- panic 2009. 2″35′ alison williams, ZA red yellow blue 2009. 3″38′ Panic is a sudden fear, which dominates or replaces thinking and often affects groups of people or animals. Panics typically occur in disaster or violent situations, which may endanger the overall health of the affected group. The word derives from the Greek panikon, “pertaining to Pan”, the god of woods and fields who was the source of mysterious sounds that caused contagious, groundless fear in herds and crowds, or in people in lonely spots. We are all caged by our own devices and panic is a state common to most humans, be it self-induced or other. (wikipedia) i painted my face yellow then blue then red – it was early morning,after  i turned the telly on, and was revolted at being human. some days emotion is overwhelming – especially if it is television induced. human cruelty – what we are capable of doing to each other, words fail. such cruelty. …. Glenn Church (Neophyte Capsule), US Fragility 2009. 5″33′ Ulf Kristiansen, SE The Abyss 2008. 8″ Utilizing small scale models, ‘Fragility’ analysis the human condition of isolation, (both mental and geographic), emotional breakdown and separation. The viewer is presented with a series of rooms, in which the ever present television projects the hidden inhabitants state of being; echoing the increasing dilapidation of the rooms as the video progresses. From the fragility of our anatomy and mortality, to the fragility of our notion of ‘self’, the notion of ‘home’ becomes a panopticon for voyeuristic self destruction. A convicted rapist and killer is about to executed. The day before his execution he wants  to warn society about the dangers of violent pornography. If this is a heartfelt concern of a man who wants to do at least one decent thing before he dies, or if this is just a last attempt of a psychopath to manipulate his surroundings have to be up to the viewer to decide for him/herself. The movie is made in a combination of machinima, animation and found footage. …. Niclas Hallberg, SE Crying Man 2008. 01″23′ Debbie Douez, ES Sadness 2008. 02″18′ This piece was first shown, during 73 days, at the 9th International Biennale for Miniature Art in Serbia 2008. It’s concerning the sorrow over nonexistent human rights, and a deep personal grief of insufficiency. Men must dare to let the tears out, dare to show their weakness and act less bold and overconfident. Sadness is the examination of the human emotion sadness very up close and personal.  How much of that emotion can be transmitted by only looking very closely at the human eye.  With very little else to characterize the emotion, an emotion without context, without a story, without tears or a face, can the viewer actually feel, actually sense the sadness and the delicacy of that emotion expressed solely by a human eye?

…. Hakan Akcura, SE CATHARSIS 2008. 05″17 ‘ dave swensen, US Until Death Parts Us 2007. 01″19 Gamla Stan is the center area of Stockholm. Oldest and more touristic zone of the city. Other side of the Gamla Stan subway station is seeing inland sea, have a nice panorama but trashy…  When I recorded some scenes at this area a few young men which were high came up to me and wanted to do “rap” in front of my camera. I said: “Okay!” and recorded them. I was only a recorder and a witness. All big cities in Europe need this kind of purification. Immigrants could help. I’m sure. English, Arabic & Swedish; no subtitles Until Death Parts Us focuses on commitment and the relationships we make and build throughout our lives.  There is beauty to be found in all of them.  The connections and commitments that we make to one another are undeniable and amazing. …. mads ljungdahl, DK The Source of Emotion 2009. 01″43′ Daniel Chavez, US self examination 2009. 02″39′ Approaching the subject Human Emotion opens for a myriad of possible ideas and associations in ones mind. In fact the thought alone triggers human emotion. It’s everywhere – it’s what we all live in day in and day out. Still emotions are a non material matter that easily slips through our fingers when we try to hold and describe them. In the video The Source of Emotions I’m combining the suggestive influence from the music and imagery with a somewhat scientific point of view. My work essentially deals with the concept of existence. Existence in two parts: Being and Not Being or as I phrased it: Nothing or Something. The recordings that I have made are representations of not only myself but also of all others around me. …. Adamo Macri, CA One Onion Canon 2007. 05″ 51′ Anders Weberg, SE Dejected 2008. 01″15′ In 1946 film critic Nino Frank first applied the term film noir to some of the films Hollywood was producing during the period. Discussions of noir often centre on visual and specifically cinematic elements such as chiaroscuro, extreme camera angles and expressionist distortion. Both literary and cinematic noir are defined by the shifting roles of the protagonist, the ill-fated relationship between the protagonist and society, generating the themes of alienation and entrapment. In Macri’s works SLIDE and One Onion Canon which involve both video and photographic pieces, he attributes the idea of noir as a filmic mise en scène approach to portraiture. Sad and depressed; ORIGIN late Middle English (also in the sense [overthrow, abase, degrade] ): from Latin deject- ‘thrown down,’ from the verb deicere, from de- ‘down’ + jacere ‘to throw.’ Oxford American Dictionary

…. Neil Howe AU GENESIS 2006. 10″34′ Bill Millett, GB The Book 2008. 06″46′ Genesis is a 10 minute journey from the big bang to Armageddon via a series of sound and vision segments that I call BODYSCAPES, that is, landscapes of the human body and it’s social condition. These BODYSCAPES are created in the computer through a process whereby photographic images of the human body, either photographed by the artist or sourced and collaged from the public domain, are transformed into a simulated landscape that is richly varied in form and texture. The work is premised on three quotes. _ Bertrand Russell “ We speak of faith when we wish to substitute emotions for evidence”. _ Arnaud Alaric during the siege of Beziers (1209) when asked by a crusader how to tell the Catholics from the Cathers when the city was taken. To which the Almaric replied: “Kill them all; for the Lord knoweth them that are His”. _ Voltaire “Those that can make you believe in absurdities can make you commit atrocities”. …. osvaldo cibils uy after big bang before big crunch 2008. 03″43′ wilma kun BR Reality Perceived 1# 2009. 6″10′ A brief synthesis of human existence. What is the Reality of the Things? What are the relationships created among the human being, the things and the situations that you meet? These are some questions that in the Series Reality Perceived, I have been searching. What is the limit between that I perceive as reality and that it is really real? …. Irina Gabiani LU Samaia or Triamazikamno 2007. 06″21′ Alberto Guerreiro PT Transcendent 2008. 04″30′ Samaia is the title of a Georgian Traditional Folk dance, performed by three women united in the dance in harmonious way. Triamazikamno is a word created by George Gurdjieff in his ‘Beelzebub’s Tales to His Grandson’ to signify that for anything that happens in the universe, three forces must be present: a positive force, a negative force, and a neutralizing force. The work follows the Ägon and Tanatos complex as they were taken by the philosophy of Nietzsche and the psychiatric analysis of Freud. This way the work evokes the metaphysical (Nietszchean) and erotic (Freudian) universe living the limbo between two worlds: real (human) and hyper real (ghostly). Aesthetically is a tribute to the primary horror movies like the Danish masterpieces “Häxan” by Benjamin Christensen or Carl Dreyer’s “Vampyr”.

… Jose Drummond PT The Narcissist 2007. 02″57′ mike hinc GB Red River (Of My Heart) 2008. 02″57′ Too much choice brings us concerns of unhappiness, of not having things, of not being content with the results of what we choose. Expectations and not perfect experiences cause us to abstain from making decisions rather than making a complicated one. Many times in life we learn what we want by experiencing what we don’t want, however many times we don’t realize what we don’t want until it arrives. And often it arrives with many qualities and attributes that we adore. River (Of My Heart) is a warm, running reverie of images entwined with the entrancing musical washes of XP3 – a mystery wrapped in ethereal mists. This is the Pathetic Fallacy turned in on itself – a necklace of memories, a pantheist’s daydream that both reflects and catalyses the landscape of that most precious and elusive of human emotions – wonder! …. Christy Walsh US Isolation 2008. Vienne Chan HK CA Port-a-cath 2008. 03″45 Isolation is study of a room and its sole occupant. Most of the windows are barred, at times the sun barely seeps in enough for a consumer grade camera to capture an intelligible image. The camera drifts in and out of focus, follows the contours of the room’s angles and records the minute movements of the room’s owner as she lies abed. The port-a-cath is a small medical appliance that is inserted below the skin with a catheter that is surgically connected to a vein; it is often used to deliver chemotherapy. Sometimes, a port-a-cath can be found in the bedroom with pigeons outside the window. …. Anthony Elliott GB Get a Job (no.2) 2008. 01″54′ Manfred Marburger GB AGONISED 2009. 02″54′ A systematic representation has been created from a viewers event. “Get a job”, was recorded by Air Your Views (a interactive listening sculpture). The film was made at a recently closed cement factory by the River Thames. An extremely slow drum and bass rhythm marches on relentlessly while a girl in a white dress rolls “… AGONISED…” on a bed clutching some naked dolls. She succumbs more and more to her emotion, her movements at times coinciding with the beat. My intention was to keep the video ambiguous by not suggesting a particular reason for the girl’s emotion, in order to allow it to be viewed on different levels.

……..
Michael Chang, DK Concerto Azzurro (Blue Concert) 2009. 06″ 10′		Simone Stoll DE Crazy Lonely 2008. 04″40′
Set in a monochromatic black and white at a table representing an grand piano, Concerto Azzurro could be seen as an analogy of life’s odyssey. On the keys the complete spectrum of emotions are spelled out. Symbolizing life as a path we walk the keys are played with the feet. As the act is being performed, we witness all kinds of emotions being played. In the end the tune fades out in to a delicate blue color .		Comprehension of the physical body is intertwined with mental equilibrium. I had to unpeel layers of self-protection and defeat self-denial. New boundaries had to be defined. I seek to unveil and find images of mental and physical, vulnerability, of female identity and sensuality.

State of the Art Gallery (SOAG), Ithaca, New York
Wednesday, February 4, through Sunday, March 1, 2009
Opening reception: Friday, February 6, 5:00-8:00 pm

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Call me Ishmael. Some years ago – never mind how long precisely – having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation.—Herman Melville, Moby Dick

When a former student called her attention to the beginning passage of Moby Dick, Jan Kather began to think about water and her upcoming show at State of the Art. She got a copy of the book and says that “Melville seemed like a kindred spirit, as his sentiments were clearly beyond the obvious fact that water preserves our physical being.” Kather thought about how essential water has been for the preservation of culture. “Everywhere I looked,” she says, “I began to notice references to water, whether it be painting, music, poetry, plays, Cornell seminars, environmental reports or news of hurricanes, floods, and heavy snowfall. I looked back at my oeuvre of photographic expression, realizing water was often my subject, but more often my metaphor for embracing and expecting change.”

Kather initially imagined glass canning jars of water stacked like strawberry preserves in a cupboard. Deciding that was too literal, she tried projecting video clips of water through the jars of water onto surrounding walls in her house. “To my surprise,” she says,” the sounds of birds, automobiles, and voices created an unexpected, prayerful ambience. I knew then that the installation I was planning for February at State of the Art would center around a transformation of the gallery space into a meditation room.”

The result, a body of work titled “Water Preserves” (click to see movie) explores our complex and sometimes precarious relationship with water by visually and aurally examining its beauty, magic, terror, and poetry.

“The crowning piece for the ‘Water Preserves’ (click to see movie) installation came from recent interactions with international video artists,” she says. She invited members of that group to participate with her in exploring the idea of water. She has assembled a twenty-two minute video from their responses that will loop continually in the gallery.” In addition, Kather is exhibiting still images that pinpoint some of her more personal interpretations of water preserves.

Below artists’ contributions.

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