At SIP, Driscoll has installed not just a series of corner sculptures, but also other things that work with the space's ceilings and angles. Multiple concrete pendulums are suspended against the wall, with the concrete etching a gray arc on the blank wall as it sways back and forth. Also on view are colorful, twisted sculptures, prancing and looping from the wall out towards the space. A series of sketches rounds out the exhibition .Curator Dr.
In 2019, she began working with Alessandra Moctezuma, who runs the Mesa College Art Gallery and the Museum Studies program. They started developing ways to show the works with that significance, but were sidelined a few years by COVID-19. Since then, more works were added to the collection and Rogers used the time to craft scenes — dwellings, shrines, environments and garments to be worn with masks and more.
A video plays alongside the vigango pieces explaining their importance and the issues relating to their protection and return."That's the first thing you see when you walk in the gallery," she adds.Courtesy of AAC "I started realizing that a lot of my work is about listening to the environment. That kind of set me on thinking about what does the earth want us to do? What are the stories embedded?" de la Torre said."Soil and soil narratives are both scientifically and objectively a way to understand the environment. As a storyteller, literally the earth records everything. The earth is a recording device.
"The trolley could be a metaphor for many things, for people moving, people leaving, arriving. It lends itself to poetic interpretations. I'm not trying to control the meaning of anything. I'm just using these structural concepts for storytelling," he said.
"Every day [Dreher] would paint a glass of water," Vásquez said."So it becomes like a practice. He's not doing this every day to be a painter. There's something spiritual going on with it."
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