Previous Exhibits
Those who dream in the midst of sorrow
Featuring words & images from Jeran Avery, Jenna Brack, Gregory Kolsto, Sandee Finley, Dylan Mortimer, Kelli Sallman, David Oakes, and Fredric Sims
My childhood as my muse
In this body of work, I wanted to pursue a practice of joy and play that I didn't always get to express as a child. When I was young, my world was very chaotic, and yet I knew that there was always a sense of freedom and joy at the edge of my mind.
Northward
This series of paintings is based on the structures that lay below maps. Latitudinal and longitudinal lines form a grid, and this grid has had many uses throughout history. To the Flemish geographer and cartographer Gerardus Mercator, a rectilinear grid aided in the making of maps for ship navigation. These sorts of tools have helped define me on my journey as an immigrant in America. My variations on maps and globes provide alternatives that leave room for those of us who have not been included in these histories and images.
Liminal
When borders are absent, possibility is present. Change and growth occur by operating in the space between known and unknown, here and there, then and now. This exhibition features two ceramic artists exploring the significance of the liminal space in their work and artistic voices, interpreting the term ‘liminal’ in different ways.
Bảo Ơi
Each year, the Four Chapter Gallery partners with the Kansas City Art Institute Fiber Department to present the work of an outstanding graduating senior. This year, we invite you to view the work of Hùng Lê, a Vietnamese-American artist. In his exhibit, Bảo Ơi, the artist considers the liminal space he occupies as an inheritor of two countries.
IN THE WAITING
This exhibit brings together the work of two local artists, Emily Cramer and Lauren Stevens. Though Emily and Lauren are both visual artists, their practices are very different, in that Emily primarily works in oil with surrealistic imagery and Lauren creates elaborately detailed works through printmaking. Both of them create richly detailed figurative work, and both are continually exploring themes of beauty and faith in their life and work.
The Process of Becoming
Becoming is a human process. We become who we are over time, often slowly. Sometimes that process goes how we imagine and sometimes we are becoming against our will. Like a work of art, as creatures we become who we are under the loving hand of a Creator. God, through the mystery of creation, begins our bodily becoming in the womb, and our entire life is an unfolding of growth, change, and decay that is governed by forces outside of ourselves. In him we live and move and have our being (Acts 17:28).
Out of Chaos
Madelynne Jones uses abstract techniques and acrylics to visually represent the chiasms and patterns revealed in Scripture. Chiasms are ancient literary tools used by Hebrew writers to show patterns in Scripture. These patterns point to a Creator that is so meticulously obsessed with beauty that He's layered and buried jewels within the Scriptures for us to uncover. Madelynne's work allows the viewer to see Scripture through dynamic colors and textures that reveal a God committed to telling His story of redemption over and over again.
on the bridge between
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.
Geheimnis
Who Makes You? presents a series of works that reflect on the influence of the artist’s professors, peers, and friends during the past four years at The Kansas City Art Institute. Brimming with color, her large-scale works on silk panels combine intuitive mark making and employ a less traditional approach to shibori resist dyeing.
Who Makes You?
Who Makes You? presents a series of works that reflect on the influence of the artist’s professors, peers, and friends during the past four years at The Kansas City Art Institute. Brimming with color, her large-scale works on silk panels combine intuitive mark making and employ a less traditional approach to shibori resist dyeing.
