Have you met…Adrienne Moumin?

The Future
32″ x 25″ Hand-Cut-and-Assembled
Gelatin Silver Photo Collage

An introduction can be a wonderful thing. You can meet interesting people, and make new friends. You can be introduced to your new favorite foods, books, music, or artist. I’d like to introduce you to some of my favorite artists. Some of whom I’ve been familiar with for years, and others I’ve only recently been introduced to. The person I’d like to introduce is the artist Adrienne Moumin.

The Forces of Victory
7¾” x 20″ x ⅜” deep
Hand-cut-and-assembled
3-D Gelatin Silver Photo Collage

“Born in 1961 in Brooklyn, NY, I am best known for my hand-cut-and-assembled gelatin silver photo collages, and for the B&W photographs from which they are made.

I am a self-taught collage artist, and created my first work at 8 years old, a bookcase covered with meticulously cut and pasted magazine pictures.

In 1999, I graduated from SUNY Empire State College with a B.A. in Documentary Visual Studies and Society – a self-styled major which combines my love of photography and commentary.

In the early 2000’s I began cutting up my gelatin silver photographs for use in collage, in order to carry on with my work during a period when I had no access to a darkroom. This led to my ongoing Architextures series of hand-cut-and-assembled photo collages.

I also create mixed-media surrealist collages, often using one of my store window mannequin photos as the basis for an exploration of an emotional state.

I have exhibited my gelatin silver photographs and collages in New York, and nationwide, for over fifteen years. My images have been featured in New York Gallery Guide, About.com, and The Sun Magazine.

I have been interviewed for WBAI Radio in New York, served as Editorial Consultant for a technical photo manual written by David Fokos, and received a Puffin Foundation Grant for a documentary photography project.

My photographs and collages are in private collections in the US and abroad.

I currently live and work in New York and Silver Spring, MD.” AM

Looking Inside
11½” x 10″ x 1/8″ deep
Hand-Cut-And-Assembled
3-D Gelatin Silver Photo Collage

Trappings of Entitlement
The photo background for this series depicts St. Paul’s House/Rev. J.J.D. Hall Memorial, a mission for homeless
people on West 51st Street in New York. The recipients were being made to listen to a sermon in order to be eligible for a food handout. What a perfect metaphor for this concept.

Other material relating to Adrienne Moumin.

Artist website: picturexhibit.com

Youtube: Adrienne Moumin

Art in New York City: Adrienne Moumin

Minimal Exposition: Adrienne Moumin

Scribble Blog: Adrienne Moumin

Artbook Guy: Adrienne Moumin

ArtSlant: Adrienne Moumin

If you liked this introduction please check out the PREVIOUS and NEXT.

Have you met…Monica Lacey?

Curiosity: a love letter to abandoned houses – an installation of an abandoned house created in Victoria Park, Charlottetown, PEI for the Art in the Open Festival, August 2013. Curated by the Confederation Centre Art Gallery. Viewers were encouraged to explore, root around, and indulge their curiosity.

An introduction can be a wonderful thing. You can meet interesting people, and make new friends. You can be introduced to your new favorite foods, books, music, or artist.

I’d like to introduce you to some of my favorite artists. Some of whom I’ve been familiar with for years, and others I’ve only recently been introduced to.

The person I’d like to introduce is the artist Monica Lacey.

sleeping (the voyeur) – oil on canvas, 24×24 inches, 2012

Bio

Monica Lacey is a multi-disciplinary artist whose work focuses on the beauty
of the broken, overlooked, or discarded.  Monica spent many years traveling,
working in the film industry, and developing her skills as a writer, dancer,
and yoga teacher before returning to interdisciplinary studies in Textiles
and Photography at the New Brunswick College of Craft and Design. She has
received several awards and grants for excellence in her work and service to
her community and her art can be found in private collections across North America.
She lives and works in Charlottetown, Prince Edward Island, Canada.

a murder of crows – graphite on laid paper on panel, encaustic, 9×12 inches,2012

Accept Loss Forever, fig3 -rust, transfer, and encaustic on BFK Rives on panel,6×6 inches, 2010

Accept Loss Forever, fig2 -rust, transfer, and encaustic on BFK Rives on panel,12×12 inches, 2010

Statement

“I enjoy examining & considering the world visually; I can understand and
articulate things via my art that I couldn’t grasp any other way.
My work focuses mainly on drawing out the beauty of that which is broken,
overlooked, or discarded – it is important to me to look closely at life, to notice
the tiny details. I believe that things and places have their own lives and intimate
feelings and I want to tell those stories, to give voice to moments
otherwise forgotten. My studio practice encompasses a variety of
media and usually always involves layers and depth, as those elements
directly reflect my process.” ML

the body cage (your body holds you back) – cotton, plywood, steel, 2011. This piece corresponds with a video work and is a part of the larger solo exhibit: The Sky is Always Moving: an exploration of dance & the human experience, curated by the UNB Art Centre, 2012.

Other material relating to Monica Lacey.

Artist website: monicalacey.com

dancethechanges: Monica Lacey

Gallery 78: Monica Lacey

Go Elsewhere: Monica Lacey

Papirmass: Monica Lacey

Vimeo: Monica Lacey

Sesguicentennial Public Art Program: Monica Lacey

If you liked this introduction please check out the PREVIOUS and NEXT.

Details and doodles.

I’m riffing on currency engravings for one of my Canada Suite paintings. The strongest currency in the world you might ask? Canadian Tire currency of course. It never loses its value and you can by an amazing amount of stuff with it.

I think it’s Thursday but it’s really Wednesday in the studio.

I’ve been working on a commission that I recieved from the Prince Edward Idland Council of the arts for the 150th anniversary of the Charlottetown Conference. The paintings are on board, and the work is coming along steadily. Some of the pieces I’ve completed will be dropped when it comes time to select the final paintings. It’s been awhile since I’ve worked on board and I have to admit I prefer working with paper.

Saturday studio.