The Black Rebel Mayhem Club Tampa Charter Presents Skin Guns

March 19 – 22 2013
Crossley Gallery, Ringling College

Miranda Burns and Devon Keene are exploring the reinvention and new consciousness of self through imagery, video, and sculptural processes using this as a method to exploit the specific symbols and themes present in the work. Walter Matthews paintings obfuscate imagery taken from his immediate surroundings establishing his presence in the work through the use of mark making with both image transfer and painted response.

March 19 – 22 2013
Crossley Gallery, Ringling College

Miranda Burns and Devon Keene are exploring the reinvention and new consciousness of self through imagery, video, and sculptural processes using this as a method to exploit the specific symbols and themes present in the work. Walter Matthews paintings obfuscate imagery taken from his immediate surroundings establishing his presence in the work through the use of mark making with both image transfer and painted response.

skingunsdos

Miranda Burns
I am selfish; I make work about myself and girls worth talking about. The current body explores a personal mythology in the exploitation of the female trophy and the impression left on the possessor. The new consciousness of self is hunting the naïve, shameful and rebellious disposition of juvenility.

Devon Keene
This series of work is an exploration of the use of an alter ego used as a catalyst for discussing themes of authority, fetishism and daddy love. The second self is an aggrandizement of persona that allows me to discuss contents of a chimerical property- an altered state of consciousness – but in the same body.

Walter Matthews
Each painting I create poses a set of questions and problems that may be resolved in the next painting. This consequently poses another, more complex set of questions/problems and so on. Currently I have been exploring the contrast of abstraction and figuration. I aim to render visible intensities through the coupling of these two forms of representation. While creating a painting I think about affects (sensations) in the Deleuzian sense- intensities corresponding from one experiential state of the body to another; and how these different transitional states of the body may be influenced through the body’s interaction within a particular space.

I begin my paintings by photographing figures from my immediate surroundings and digitally altering them. The resulting print outs are then physically altered, cut and/or torn then transferred to the surface. I often integrate the image transfer with a painted response to create a complex handling of both abstraction and figuration. I treat the image transfer as a form of mark making that eschews the brush while also keeping a presence of hand.

2698 Bradenton Rd. Sarasota FL, 34234

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