October 12 to November 9, 2018

Making as Provision

Kelley E Foy

 

Opening Reception: Friday, October 12, 2018, 7 to 9 p.m.

 

Kelley will be available during the reception for questions and conversation.

 

Artist Statement

My earliest memory about making centers on a retired neighbor I met when I was six years old, growing up in the former orchards of Arcadia. He spent his days on his carport building wooden pews and rocking horses, which he donated to his church. He used only hand tools. I remember his aged hands with graphic detail. They were swollen and gnarled with arthritis, but he used them so carefully and purposefully with each project. His hands had a sculptural quality from years of use. Looking back, I imagine he often worked in pain, but what was more apparent was the joy his work brought him. Even then, I appreciated that his practice was a solitary one. For whatever reason, he quietly shared it with me, not so much by inviting me into his space as allowing me to wander in, watch and witness for myself the possibilities of handcrafting.

My work cannot be described without acknowledging my lifelong connections with archetypes like him and the stories and identities of past makers and providers. The work in this show focuses on the function of provision and its grace. This show is about functionality with a nod to what that meant in generations past.

 

About the Artist

Foy began her career as a furniture designer and builder. She worked in the field for over 20 years. This body of work is primarily functional ceramics. Foy earned her BFA in Ceramics at ASU.

August 16 – September 29, 2018

Shot

Kari Wehrs 

Opening Reception: Thursday, August 16, 7-9 pm, during Scottsdale’s ArtWalk.

Closing Reception: Thursday, September 27, 7-9 pm, during Scottsdale’s ArtWalk.

Kari will be available for questions and conversation.

 

Artist Statement:

A couple of years ago, my mother explained that she had begun to carry a handgun for self-protection. Guns had never been a presence in our family, so I wondered why my 61-year-old mom would resort to such an action.  No personal prior incident had occurred to cause her to carry.  I was shocked, angry, and saddened.

I thought about the closeness and care in our relationship, while simultaneously questioning the distance between our perspectives…or was it simply between us?  I wondered what she was so fearful of, and I realized that whatever it was, I had conjoined my fear with hers.  Our fears were clearly on opposite ends of a polarized argument in this country, yet they lived in tandem, seemingly inseparable.  My mother’s individual desire to carry a gun related to what I had been seeing on a larger scale, as collective, societal reverberations.  Weeks later, this realization remained piercing and haunting.

 

Shot

I set up my darkroom tent and tintype gear at locations in the Arizona desert where recreational target shooting is allowed. These spaces are heavily frequented and officially unmonitored. I create participants’ tintype portraits, then give the subjects the option to use the image as a target.

Tintypes were the primary form of photography during the American Civil War – another time when the country exhibited vast divides. Soldiers often posed for their tintype in military uniform and with weaponry. Looking back on these historical likenesses, I often wonder: is this tintype the last, if not the only, photograph of the soldier? At the moment the photograph was made, did he contemplate his own fate? Did he contemplate that he might battle another member of his family?

Present day ideologies surrounding the gun in America contribute to a cultural civil war.  I have engaged in this work to better inform myself and to actively question others who support these various ideologies.  Most of these photographic encounters have resulted in open and thoughtful conversation surrounding views of the gun, and nearly all have concluded with a verbal exchange of gratitude.

Throughout the varied experiences with participants for this project, the driving desire has been to push notions of disagreement directly in contact with notions of reconciliation.  Just how close can these concepts get, and what, then, is found at their intersection?

To see the exhibit,click here.