©2019 Project Three Gallery

998 Kenmore Blvd Akron Ohio 44310

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meet the artists:

Mia Johnson

I am receiving a BFA in Print Media and Photography as well as a BA in Art History from Kent State University in May of 2019. My work focuses on identity, self autonomy, familial relationships, and their intersections. Through exploring the ephemerality of memories using allegory and semiotic imagery, I hope to encapsulate facets of my individuality- making connections to larger societal paradigms.

Kent State University // BFA in Print Media and Photography and BA in Art History 2019

@miajohnsun

miarosejohnson.com

 

Untitled

26" x 40"

2019

35 mm film capture, digitally output, curtain rod, fabric

This is one photograph from a series of five within my installational/interactive thesis show, At the Seams. At the Seams makes tangible the experience of constant shame and observation. The large-scale self portraits are both submissive and challenging to the gaze of the viewer, and put the viewer in the position of voyeur. This image captures a fat body as both beautiful and vulnerable, but confronts the viewers perceptions, questioning their authority over fat bodies like mine.

Have You Earned It?
17" x 24"
2019

foam, silicon caulking

A slice of cake signifies joy, desire, and celebration, but this cake denies its fat consumers. It begs the question, "Have You Earned It?", a thought which flashes through the mind of any fat person when they see a tempting, "unhealthy" food option. But, the statement acts as a message of awareness for thin bodied people, helping them to realize the constant rumination fat people experience surrounding their weight. Fat bodied people aren't granted a joyful life, it must be earned and the capital is thinness.

 
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Luca Taylor

Kent State University /MFA Fine Art

Through found object modification, paper substrate, recycled textiles, and the growing of plant material arranged within individual-scale environments my work both contends and modernizes traditional standards of womanhood. I often frame the garden or the greenhouse- places of domestic labor- as a metaphor for an internal mental space in which healing and nurturance occurs. I do so to honor the cellular memory of my matrilinear heritage's oppressed existence and how it came to produce my own.

Atmospherically, my work mimics domestic environment. Individual pieces are often glimpses of the home; kitchen linoleum, crocheted rugs, embroidery, houseplants, mid-century furniture, scenes from bedrooms or backyards. I approach my spatial design to host a single individual at a time; works will often include only one chair, walls wide enough for one body, or floor elements that indicate a certain amount of space dedicated to observation of the piece. This element of any environment may manipulate the viewer into a vulnerability mirroring that which I have offered to them.

My material practice involves nutrient substrates created for plant sustenance, but through the application of papermaking techniques and printmaking philosophies. In this way my work still fundamentally subsists on my background in printmaking.
 

 

Cut Piece

26" x 40"

2019

35 mm film capture, digitally output, curtain rod, fabric

Cut piece is a combination of a sculpture originally named She Used to Wash it in the Kitchen Sink and a video piece in which I shave my head. The sculpture represented the immense value of my grandmother's hair, which she could not cut until her own mother died. I was, around the time the sculpture was made, wondering about why or for whom I had grown out my own hair. I was inspired to cut my hair and combine that act with the sculpture.

I named the video Cut Piece after Yoko Ono's Cut Piece, wherein she invites the audience to cut away her clothing while she is completely vulnerable. I change the narrative by taking ownership of the scissors and the clippers, and I turn them on myself in an act of autonomy. I want to provoke questions about our attachments to hair.

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Katie Burkett

Kent State University //  BFA in Crafts with a concentration in Glass and Ceramics

I make contemporary art jewelry to express myself as an artist but also as an individual. I make large contemporary pieces that combine fashion, design, art, and jewelry skills together. When I design a piece I think about how not only it will look and feel on the body but how it would look with an outfit. I am inspired by everything around me. I use a wide range of materials, but my favorite materials to use are alternative materials. I incorporate alternative materials like bugs, teeth, and bones to bring the grotesque element to life. Sometimes I cast these elements out of metal to have a different effect on the work. I use a different facility than other jewelers because my work tends to be larger and more on the side of wearable sculpture than jewelry, so I started to use an actual foundry to do my metal casting. This in turn gives my work yet another element that makes it different than other jewelry artists and brings in an element of industry. I strive for my art to be original, one of a kind, and something no one has ever seen or thought of before.

@burkett_artncraft

Torn and Worn
41" x 9.5"
2019

Glass, fishnets, oil paint, acrylic paint, brass rings

This piece of work is an exploration in using glass and fibers together to have a larger conversation about the dichotomy of fragility and strength of the female body.

This work relates to the theme because it highlights the body in a way that is unique to the viewer. By exposing the internal spaces of the sculpture through fishnets and tears, it allows the viewer to explore the body in a new light.

Transparency
30" x 7.5"
2018

Glass, pantyhose, acrylic paint and stain

This piece of work is an exploration in using glass and fibers together to have a larger conversation about the dichotomy of fragility and strength of the female body.

This work relates to the theme by allowing the viewer to explore the body in a new light. By using the pantyhose to cover the glass, it create a skin like surface that relates to the viewer's own body. With tears and stretched out textures it alludes to exploring how the body is durable and flexible under different circumstances.

 

Meagan Smith

 University of Akron // Painting and Drawing 2015, current Kent State University// MFA Textiles

The work explores the ideas of paradoxes, systems, visualized sensations, and energy compacted within the body. Edges remain in their natural state, roughly sewn or precisely woven to keep the notion of containment inside. These assemblages carry sequences, connections, or bodily weight obscuring its environment and redefining into an entirely new system. Often sacs, tubes, fleshy folds, hives, nets, plants, webs appear drawing more on ecosystems and habitat beneath the skin.

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@meaganleggin

www.meagsmith.com

Inward, Outward

50" x 60"

2019

Dyed rayon, monofilament, copper wire

This piece is hand woven with rayon, which has a lustrous tactile quality and monofilament providing a fragile and ephemeral sensibility. The subtle brightness relates to colors found on our bodies in culture and nature. Tubes begin to curl, dangle and dance as if internally our organs were dressed up. Themes of the grotesque and beauty begin to arise and questions concerning femininity and masculinity. The rusted copper rod hangs the floating, mysterious transparent specimen as it continues to be admired for its physical properties.

Insulated

9"

2018

Shibori indigo dyed, cotton, polyfil, rope

This piece was created to emphasize streamline of the body, a term used in reference to swimming for stretching out the body. Shibori Arashi is a traditional Japanese indigo resist dyeing technique used to replicate water or a storm. Polyfil is stuffed and sewn into the body to further animate the object.

This work specifically explores the natural realm of height, weight, bodily ligaments, organs and spinal references. Edges remain in their natural state, roughly sewn to keep the notion of soft containment inside. Environment and habitat begin to interplay and question a unique origin.