Friday, February 2, 2018

  • Friday, January 5, 2018 (All day) to Thursday, February 15, 2018 (All day)


    To Be Seen reimagines Islamic architectural ornamentation by integrating traditional tilework and geometry into a spectacle of self-promotion. In Morocco, for example, visitors to sacred sites pose before niches and doorways, centering themselves within these often religious spaces. Through ceramic art objects and installations, I have created a space that speaks of status, consumption, vulnerability, and power. I invite you as the viewer to participate in the crassness of a VIP event, and pose for selfies before the handcrafted ceramic art. My goal is to transform your experience of the sacred and the profane by framing the gallery as a scene of extravagance and voyeurism. Share your selfies, and please consider using the following tags: #sarahgrossceramics #tobeseen #vipceramics

    About Sarah Gross (Lawrence, KS)

    Closeness does not establish intimacy. I grew up in New York City, always sharing space with people I did not know. The contradiction of physical density and emotional distance made me feel simultaneously alienated by and enamored with millions of strangers. I explore this conflict by making work that manifests invisible dividers and destabilizes familiar relationships, making the unknown known, and the known unknown. Inviting and forbidding, my work addresses issues of power, desire, vulnerability, and visibility. Through it, I disrupt familiar ideas about gender roles, sacred space and what it means to be the object of another’s gaze.

    I make art that unsettles the viewer’s perspective. Physical walls and paths confront the viewer, creating spatial and visual relationships that shift and disorient. Screens conceal and reveal, protect and tantalize. I use them to blur the division between public and private, transforming what lies on the other side. Through screens I explore access and denial, isolation and inclusion.

    I create encounters where the viewer must question how they fit into the structure, making the act of looking more self-aware. Scale, intimacy, and the body of the viewer are fundamental considerations. I use pattern and repetition as tools to engage the viewer’s eye and refer to historic tilework and sacred architecture. The quatrefoil is one of my favorite motifs; I have seen it in decorations around the world, and to me this universality makes it powerful.



    Gallery Hours:

    Tuesday - Saturday: Noon-5pm

    Thursdays: 5-9 by appointment only

    As always, there is no cost to come in and see our exhibits, unless there is an event taking place!

    Living Arts of Tulsa 307 E. M.B. Brady St. Tulsa, OK 74120

  • Friday, January 5, 2018 (All day) to Thursday, February 15, 2018 (All day)


    Erin Rappleye will give a performance in her installation on First Friday, February 2nd.

    A R T I S T   B I O G R A P H Y


    Erin Rappleye is an interdisciplinary artist and educator.

    Erin’s artwork explores a psychological understanding of the self, both spatially and interpersonally. She creates hand-made wearables and objects, which she activates via performance in various installation environments.

    Erin attended the University of Iowa, School of Art and Art History in Iowa City for both her BFA and MFA. In 2015, she received an MFA with Distinction from the University of Iowa in Jewelry and Metal Arts and a minor in Printmaking.

    During the summer months, Erin is Faculty Instructor of Jewelry and Metal Arts at Interlochen Summer Arts Camp in Michigan. Currently, Erin is an Assistant Professor of Art at Tulsa Community College, where she teaches Art Foundations, Sculpture and Jewelry.


    A R T I S T   S T A T E M E N T

    More than likely, we will not experience the same events in our lives, but we will probably feel many of the same emotions. For myself, storytelling serves as a way of connecting with others emotionally through a variety of experiences. I create characters and objects that are part of a larger context exhibited in an installation environment. The objects I create are not wearer neutral, they implicate the wearer; for example, a liar’s mask or a horse’s bit, submits the wearer directly into the role of the character. The wearer then becomes part of the story, activating an immersive environment for both the performer and the viewer. The stories expressed through my installations explore sexuality, partnership, femininity, behavior, communication, and misunderstandings in an attempt to better connect with others and understand myself.

    My stories are derived from memories of relationships existing or past; that could range from ex-lovers to my relationship with my sister. Memory is a mixture of emotion, dream-content, sensory experiences, and perspective; making it nearly impossible to recount an event with exactness. This allows my work to dance on the line of reality and fiction, resulting in fable-like narratives. Fables allow for strangeness and absurdity; consider animals sitting around the dinner table or inanimate objects chattering on the mantle. The beauty of absurdity is that it can seamlessly blend humor and tragedy. In my work, humor offers an access point for the viewer, while the seriousness of the situation is slowly revealed through the performance of the story. Absurdity can promote acceptance of even the toughest of lessons because it disrupts expectations and natural tendencies, highlighting perspectives that may have not otherwise been considered.

    I am interested in jewelry’s ability to serve as a vehicle for revealing narratives. The broadest objective of jewelry as an art form is to impact or complement the story of the human body. It is an objective informed by inherent material value and psychological/emotional value. The latter determined by relationships, interaction, personal history, legacy, and gesture, which I explore through performance. I believe positive and negative environments have the ability to manipulate our perception of ourselves just like something physically attached to us. My research centers on how body adornment can reflect personal psychology as influenced by a given environment and the potential for the objects within that space to respond as witnesses to further illustrate stories within an installation.

    I create objects using a combination of technology and hand-skills. I start by drawing blue-prints for objects using 3D modeling software; I then use those drawings to guide my hand fabrication process, which could involve anything from piercing and sawing, cold-connections, welding and soldering to casting or forming. I work with a variety of materials from rubbers, plastics and fabrics to brass and silver. Most objects I create incorporate a machined component from either the CNC mill or the CNC laser. The conversation between the machine and the hand is important - the defined edge of a machined component lends credibility and emphasis to the hand’s translation of emotion, sincerity and history.


    C H R Y S A L I S



    The chrysalis provides a sanctuary for the larva as it matures into an adult insect. Once cocooned inside, there is no witness to this internal process of maturation. We are only made aware of it when the insect re-emerges, transformed into a fully-grown butterfly or moth. Similarly, a child's playroom functions as a sort of social chrysalis. This is a space where we can mimic learned behavior through interactions with our peers or inanimate objects. This exhibition seeks to reconcile patterns in social behavior subconsciously adopted from our childhood role models. The objective of the performative aspect to this exhibition is to find strength, courage and identity in acknowledging these constructive or destructive behaviors within ourselves as we grow into adulthood.



    Gallery Hours:

    Tuesday - Saturday: Noon-5pm

    Thursdays: 5-9 by appointment only

    As always, there is no cost to come in and see our exhibits, unless there is an event taking place!

    Living Arts of Tulsa 307 E. M.B. Brady St. Tulsa, OK 74120


  • Friday, January 5, 2018 (All day) to Thursday, February 15, 2018 (All day)


    Space, Held is an interactive installation created by members of Tulsa’s all womxn creative group, Holy Mother Collective, with the intention of creating a healing and learning space that is accessible to a large group of people. It will consist of individual, womxn-built altars exploring the concept of womxnhood, when we first realized this was part of our identity, how it’s affected us, and what it means to us now, especially in the midst of current social upheavals.

    A large, collaborative temple will occupy the central space, inviting members of the community to take a seat and participate in rituals and events that will be hosted by various collective members throughout the installation duration.

    Holy Mother Collective was founded in July 2017 by Cyterica Kahl and Lydia Cheshewalla with the intention of building inclusivity and generating more collaboration among the creative womxn of Tulsa.

    Event dates (including Living Arts events) are:

    Jan 12: Living Arts event, Come Closer dance performances, featuring members of Holy Mother but curated by Alicia Chesser outside of HMC 


    Jan 13: Cosmic Yoga led by Amy Jenkins with live music, 5-6:30


    Jan 16: Laughter workshop led by Laurel George, 7-8


    Jan 18: Tea, Tattoo, Tarot led by Daddy Underground: Kayla Harper & Katy Bruce, 7-10


    Jan 20: Women’s March activist fair; Living Arts event, Politically Krrect


    Jan 21: Yoga Nidra led by kren, 6-8, Holy Mother + fam/friends private event


    Jan 22: Writing Workshop led by Cassidy McCants, 7-8:30


    Jan 24: Sex Worker Q&A led by Amy Jenkins, 6-8


    Jan 25: Living Arts event, Youth Arts Council


    Jan 27: Movement workshop led by Amber Marie Deen and Kayla Harper, 6-8


    Jan 28: Maiden Circle for young girls led by Sierra Kramer, 3-5


    Jan 28: Self Care Sunday led by Amy Jenkins, featuring reiki, meditation, and chi cultivation, 6-9


    Jan 31: Moonlodge, moon calendar & moon movement led by Lydia Cheshewalla, Rachel Dazey, & Anna Bennett respectively, 7-midnight, womxn only 


    Feb 2: First Friday, ritual burning of writing ceremony taking place in tent Jan, live altar interviews - all artists who wish to talk about their personal altars


    Feb 4: Clothing Swap/Potluck led by Dirty Boots Vanessa Noga & Kiley Blake, 5-8

    DJ Kylie Wells


    Feb 6: Critique Night-multi disciplinary led by Anna Bennett, 7-10


    Feb 8: Enneagram workshop led by Mai Underwood, 6-9


    Feb 10: Holy Mother slumber party, 7- next day


    Feb 11: Ally discussion panel led by Kenzie Adair & Cyterica Kahl, 6-9

  • Friday, January 5, 2018 (All day) to Thursday, February 15, 2018 (All day)


    Click on each banner below to learn more about each exhibit on display at Living Arts.