Newly Selected Artists-Yu-Jung CHEN

Yu-Jung CHEN, Lightscape of the Silence, 2022, computer, projectors, size varies

Yu-Jung CHEN, Dynamic Scenery, 2023, LED strips, DMX controllers, wood, loudspeakers, 70 cm x 10 cm x 15 cm x 7 (set)

Yu-Jung CHEN, Beyond the Boundary, 2022-2023, LED strips, DMX controllers, wood, 280 cm x 20 cm x 12 cm x 1 (set)

Yu-Jung CHEN, Hyperextension, 2023, UV Inkjet Printing, wood, acrylic, 22 cm x 22 cm x 10 cm x 10 (set)

Yu-Jung CHEN
Dynamic Loop-Modulating Algorithm
April 8–April 30, 2023

Dynamic Loop-Modulating Algorithm is a research project devoted to exploring the accumulation and superposition of natural mountains and rivers. Just as Deleuze mentioned in the book “Difference and Repetition,” the “folds” are in a state of rheology, in the process of deposition of natural rock formations, and the accumulated textures form complex reincarnations. “Folds” refers to a physical presence that escapes reality and moves towards an endless time loop in the future and the past. The stacking layers of vision and sound shape the heterogeneous experience and variation in body perception. Yu-Jung uses this as the technical and conceptual basis for the construction of visual and auditory experience, and uses”superposition” as the basic propositional framework to explore the visible and invisible images in the natural environment. This process enables him to expand the boundaries of hearing and vision to experience the landscape that has never disappeared in life.

Yu-Jung CHEN is sponsored by the National Culture and Arts Foundation in Taiwan.

About the artist:

Now based in Tainan, Taiwan. CHEN Yu-Jung is a sound and intermedia artist. His artworks mainly focus on contemporary composition, experimental improvisation, and mixed media. Through the translation of sound narrative, his works induce the intermediary state of the human body in time and space. At the same time, he opens up the body’s perceptual experience as a system connecting inner emotions with outer space. Most of Chen’s recent artworks spring from space, individual emotion and the psychological experiences involved. Currently, he focuses on the interaction of visuals and sound associated with natural space. As a usual material in creating, “light” constructs the context and axis of his works, and the corresponding relationship between time and space. He extends the interpretation of light to the relationship between the viewer’s body and memory.

In recent years, he has conducted resident creations and exhibitions in Taiwan and abroad, including New Zealand, Netherlands, South Korea, Japan, United Kingdom, United State, Germany, etc. In 2022, he was selected in ZKM Giga-Hertz Production Awards (Germany).

Lauren Pakradooni, A Break Between Lips, 2021, silk, upholstery foam, wire, and wood, 32 x 25 x 6 in

Lauren Pakradooni, Canopy Size, 2022, monotype on silk, wire, and wood, 29.5 x 17 x 5.5 in

Lauren Pakradooni, Dowser, 2022, monotype on silk, copper wire, and wood, 30 x 16 x 5.5 in

Lauren Pakradooni, Lodge, 2022, monotype on silk and wood, 28 x 30 x 6 in

Lauren Pakradooni, That’s All Wild Combination, 2022, monotype on stretched paper, 29 x 23 in (11 x 14 in panels)

Lauren Pakradooni, Slugger, 2022, silkscreen on cut plexiglass, wood, acrylic, and graphite, 69 x 24 x 23 in

Lauren Pakradooni, Untitled (Telephoning), 2021, aquatint etching, edition of 5, 19.5x16in (15x12inplate)

Lauren Pakradooni, Kiss Kiss Kiss Kiss, 2023, drypoint on shaped plate, edition of 10, 23.5 x 17 in

Lauren Pakradooni, Bones Known Before and After, 2023, aquatint and hardground etching on shaped plate, edition of 10, 23.5 x 17 in

Lauren Pakradooni, Rib, 2021, aquatint etching, edition of 5, 19.5 x 16 in (15 x 12 in plate)

Lauren Pakradooni
Sprig
March 3–April 2, 2023

Sprig can refer to either decorative adornment or the act of propagation. One takes cues from the built world and the other from horticultural design. My work in sculpture and print is created from a personal lexicon of glyphs that encode and diffuse the entanglement of images and ornament associated with plant life. The resulting artworks grow from the slippage between function and beauty. Reflecting on the deep historical relationship of printmaking and the decorative arts, these works engage with applications of printed textiles and paper surfaces alike. The world-building in this exhibition is a call and response of discrete and intertwined processes within 2D and sculptural form. These rhythms of symbiosis and separation are emphasized in instances of reflection and removal as elements in these works are repeated, lost, regenerated, and propagated.

About the artist:

Lauren Pakradooni lives in Philadelphia, PA. She received an MFA in Printmaking from Rhode Island School of Design and a BA from Hampshire College. Pakradooni is a multidisciplinary artist working across printmaking, sculpture, and sound. Her work reflects the tension between the natural and built world through glyphs in form, shape, and patterns. Pakradooni has performed and exhibited work with many venues including; The Print Center, Peep Space, Planthouse Gallery, Space 1026, Monaco, Skylab, Bemis Center for Contemporary Art, Epsilon Spires, Cheymore Gallery, the University of Texas at Austin, and Leisure Gallery. She has been awarded residencies by the Women’s Studio Workshop, Wassaic Project, and Kimmel Harding Nelson Center for the Arts. She considers teaching a part of her creative work and has taught courses in Printmaking, Drawing, Sculpture, and multidisciplinary practices.

Neville Barbour, Lord of the “Flys”, 2022, 
print (original on display at the Museum of Science and Industry, Chicago, IL), 
34 x 23 in

Neville Barbour, Salt, 2023, original charcoal and graphite on paper, 28 x 38 in

Neville Barbour, St George the dragon, 2022, 
original charcoal and graphite with red card stock on paper, 28 x 38 in

Neville Barbour, Trap Wednesday, 2020, 
original charcoal and graphite with gold leaf on paper, 28 x 28 in

Neville Barbour, Monday, 2022, 
original charcoal and graphite on paper, 21 x 18 in


Neville Barbour, Fisherman of Souls, 2022
, print (original on display at the African American Museum, Dallas, TX)
, 35 x 25 in

Neville Barbour, Idia, 2020,
original charcoal on paper, 18 x 24 in

Neville Barbour, Janus, 2020, 
original charcoal on paper, 18 x 24 in

Neville Barbour, Growth for martyrs, 2023, 
original charcoal and graphite on paper, 15.75 x 28.5 in

Neville Barbour, You Remind Me, 2022, 
print (original on display at the Museum of Science and Industry, Chicago, IL), 
38 x 28 in

Neville Barbour
Archetypes
March 3–April 2, 2023

Archetypes is an exploration of the black, white, and gray in society. It is an exploration of their precarious balance in our world. This exhibition reflects Barbour’s surroundings and our shared history as much as it reflects himself and his personal history. It shows off the type of individuals that are of interest to him as well as those who share his interests.

The artist does not seek to define these familiar archetypes so much as to describe them–delving into the aspects of humanity that he finds familiar. This allows him to sympathize with individuals that may be seen by society as black, white, or gray to create a more nuanced understanding of the world.

Each drawing is based on what feels right to the artist aesthetically. His goal is to create first and then use the finished piece as a springboard into the subconscious. This process allows these archetypes and individuals to change and evolve as the artist evolves during this process. The meanings of each piece change over time. They reflect both external influences and internal projections.

Archetypes is an attempt to discover why these aspects of familiarity are so important to the artist. They help him understand how these aspects of humanity, “the black, the white, and the gray”, ultimately define him.

About the artist:

Neville Barbour is a DC native who believes that our past remains with us for a reason. We must choose how to reinterpret it. We must process it so that it does not fester. He has participated in over 23 domestic and international juried exhibitions. He won “Best in Show” at Touchstone Gallery’s 2020, “Us” exhibition in Washington, DC. He’s currently exhibiting
works at the Museum of Science + Industry in Chicago, IL for their “2023 Black Creativity exhibition” and the African American Museum in Dallas, TX for their “Caroll Harris Simms National Black Art” exhibition. He currently has a piece in the permanent collection at the David Driskell Center for the Study of Visual Arts & Culture of African Americans and the African diaspora.

Nia Alexander Campbell, Threadtales (Embroidered story cubes), 2022, 
canvas, cotton, paper, thread, and watercolor, 4 x 4 x 4 in (each)

Nia Alexander Campbell, Threadtales (Tapestry), 2022
, canvas, cotton, paper, and thread, 88 x 104 in

Josh Berer, If Only You'll Hear The Advice I Provide (pt. 1), 2022
, soot ink on hand-dyed ahar paper, bordered with ebru and papercut patterns, 
21 x 21 in (framed)

Josh Berer, If Only You'll Hear The Advice I Provide (pt. 2), 2022
, soot ink on hand-dyed ahar paper, bordered with ebru and papercut patterns, 
21 x 21 in (framed)

Josh Berer, If Only You'll Hear The Advice I Provide (pt. 3), 2022
, soot ink on hand-dyed ahar paper, bordered with ebru and papercut patterns, 
21 x 21 in (framed)

Josh Berer, If Only You'll Hear The Advice I Provide (pt. 4), 2022
, soot ink on hand-dyed ahar paper, bordered with ebru and papercut patterns, 
21 x 21 in (framed)

Patricia Daher, The Alphabet Installation, Arabic (White and Gold) Spring & Summer, 2022,
metallic ink pen with 23K genuine gold leaf on 28 wood panels, 32 x 98 in

Patricia Daher, Salam, Night Sky and Gold Sand Summer, 2022, 
acrylic paint, and 23K genuine gold leaf on archival paper, 18 x 24 in (approx)

Patricia Daher, Sea to Stars Summer, 2022
, acrylic paint, chalk pastel, glitter, color metallic leaf and 23K genuine gold leaf on archival paper, 
18 x 24 in (approx)

Patricia Daher, From Abjad to Hija2i w Letters Summer, 2022
, metallic ink pen and acrylic on archival paper, 18 x 24 in (approx)

Josh Berer, Patricia Daher & Nia Alexander Campbell
IMPART Grant Artists
March 3–April 2, 2023

The Qatar America Institute for Culture (QAIC) is pleased to present an exhibition of its inaugural IMPART Artists Grant awardees. The multimedia works on display by Josh Berer, Nia Alexander Campbell and Patricia Daher were supported by QAIC’s IMPART Artist Grant, an annual prize which supports the artistic ventures and incubation of three emerging and mid-career artists projects.
The grant program and the awardees Berer, Campbell and Daher, represent QAIC’s mission of cultivating expression and cultural dialogue from the United States, Qatar and the larger Arab and Islamic worlds, and philosophy of empowering artists and connecting creatives.

About Josh Berer:

Josh Berer is a classically trained calligrapher and craftsman based in Washington, D.C. He was born in 1985 in Pennsylvania and grew up in British Columbia. He comes from a family of artists and began learning the fundamentals of craft at an early age. At the university, he studied Arabic language and moved to Yemen in 2007 where he became immersed in the study of Islamic legal theory and classical literature. It was in Yemen that he was first exposed to the art of Islamic calligraphy. He received his Ijazah [master calligrapher’s certification] in the Thuluth and Naskh scripts from Mohamed Zakariya, and is currently a student of Talik Script. He is also versed in the arts of papermaking, marbling, illumination, bookbinding, and woodworking. He speaks Arabic, Persian, and Turkish, in descending order of confidence.

About Patricia Daher:

Patricia Daher (b. 1988) is an American Lebanese multidisciplinary artist, poet, and environmental activist based in New York. She received a Bachelor’s degree in Studio Art with a concentration in Painting and Near-Eastern Religions along with two minors in Art History and Mathematics from Hunter College, New York. Her Master’s degree is in Art Market Studies from the Fashion Institute of Technology, New York. Daher started her career as a Mathematics Educator who contributed to the academic success of hundreds of students to then proceed on a different path as a Visual Artist who produces autobiographical paintings, drawings, collages, and relational aesthetic performances that encourage dialogue and invite a change in perspective. Her many interests which include world cultures and religions, mythology, science, archeology, nutrition, sustainability, and alternative healing methods inform the themes she explores in her work. Having experienced war in 2006, she chooses to go beyond and create autobiographical vibrant worlds that explore cultural histories and concepts promoting peace and balance in society and with nature. Daher’s work has been exhibited at various galleries in New York, of which NeueHouse and Biggercode Gallery. A recipient of the Wave Scholarship, Catalyst scholarship award, and the IMPART Grant Award, her work has been published in Hyperallergic and featured in books such as Drawing with Dynamic Perspective by Meryl Rosner.

About Nia Alexander Campbell:

Nia Alexander Campbell is an artist, designer, writer, and educator from Richmond, Virginia. She received a BFA in Painting & Printmaking from Virginia Commonwealth University and a minor in Art History with an emphasis on Black art and cinema history. She later received an MFA in Interdisciplinary Design from VCUarts Qatar where she developed the modular board
game Reclamancipation as her thesis. As an instructor, she uses her creative knowledge and passion for social equity to teach those who will become future decision makers.
Nia’s creative practice explores the ways collage, writing, and traditional & digital painting methods can be used to tell stories through design. She believes that storytelling in any medium can function as an excellent way to combat ignorance, give a voice to the otherwise unheard, and bridge the divides wicked problems create. In both her visual and written work, Nia is passionate about inclusion and sharing the experiences of marginalized communities, making a point to depict more than just trauma narratives.

Hosey Corona, PA’L NORTE, installation image

Climate Poncho, 2022, performance for the camera and digital collage on leatherette, vinyl fabric, and leather cord, 43 x 40 in

Climate Poncho, 2022, hand cut vinyl on vinyl, with leather cord, 48 x 38 in

Roaming, 2023, digitally altered performance for the camera printed on cotton, 40 x 80 in

Roaming, 2023, digitally altered performance for the camera printed on cotton, 40 x 80 in

Roaming, 2023, digitally altered performance for the camera printed on cotton, 40 x 80 in

Roaming, 2023, digitally altered performance for the camera printed on cotton, 40 x 80 in

Roaming, 2023, digitally altered performance for the camera printed on cotton, 40 x 80 in

Hoesy Corona
PA’L NORTE
Saturday, February 4–Sunday, February 26, 2023

PA’L NORTE is the latest iteration of Corona’s ongoing project Climate Immigrants (2017- present) a series that problematizes notions around both immigration and climate change to highlight one of the most pressing issues of our time: environmental displacement in relationship to U.S-centric xenophobia—implicating ideas of land, borders, and environmental racism in the face of a global reshuffle.

In the gallery, the visitor is confronted with a series of large scale fiber vignettes that picture a single isolated character journeying from a land untold. The roaming monochrome figures are obfuscated by bodysuits and headdresses that hide their identities from the viewer, echoing how dehumanization is weaponized in society to excuse the mistreatment of others. The prints on fabric, constructed from digitally altered performances-for-the- camera, are rendered full of hope as bodies of color thrusting forward despite the unknown.

About the artist:

Hoesy Corona is a Queer Latinx artist creating uncategorized and multidisciplinary art spanning installation, performance, and sculpture. Corona is a current Winston Tabb Special Collections Research Fellow 2022-2023 at the Johns Hopkins University Libraries’.

Hoesy has exhibited widely in galleries, museums, and public spaces in the United States and internationally including recent solo exhibitions All Roads Lead to Roam (2023) at Eric Dean Gallery at Wabash College in Indiana; Sunset Moonlight (2021) at The Walters Art Museum in Baltimore; and Alien Nation (2017), at The Hirshhorn Museum and Sculpture Garden presented by Transformer in DC. His work has been reviewed by The Washington Post, The American Scholar, and Bmore Art Magazine among others. Visit the artist’s website to learn more.