Impulsive ideas, impulsive dreams, impulsive actions, all controlled by electrical impulses. Come explore impulsiveness through painting, sculpture, video, photography, computers, and music.
Electrical physical motion, which surrounds us, is also a part of us, to a degree that we are often uncomfortable admitting. Residing within ourselves are electrical impulses which are responsible for our forward motion, progressive creationism, ultra conservatism, points of view, emotional reactions, lack of enthusiasm.
Weather or not there is a driving force behind these impulses, it must be admitted that we are unaware of the true nature of the driver and the means by which the steering wheel is controlled, not to mention the ultimate goal of the direction of travel. We can only observe these impulses, study their behavior, and attempt to draw conclusions as to their true nature.
"I always do my best work at the last minute, or at least when I'm in a rush and working very quickly," states Jeff Alu. "The more time I have to think about something and intellectualize/pre-plan, the less spontaneous and interesting the result becomes. I work best when I can jump back and fourth between one project and another, allowing my mind to explore what it wants, when it wants."
Jeff works in the mediums of photography, interactive computer displays, video and music. His work often captures subtle realities within a surreal framework, allowing the viewer to form personal conclusions. He also enjoys injecting small doses of whimsy and irony into the mix, resulting in conflicting messages.
Evalynn creates sweeping abstract representations of her thoughts and visions allowing form, shape, and color to expand from her mind as she adds layer upon layer to her paintings. As Evalynn states, "Creating movement filled with the emotion of the moment becomes an intriguing experiment in the combination of shapes, forms, color, light and shadows.
A mysterious quality permeates Evalynn's work, as if each painting tries to record an abstract event taking place, without revealing specific details. This draws the viewer in for closer contemplation and varied interpretation.
For Kim, art-making is a process of playful confrontation. In Kim's words, "The object of confrontation is always bound to the physical body. This is why I am tied to sculpture, the creation of bodies. Whether it involves recording compulsive urges or lugging around the bio-hazardous byproducts of life, there is a need to look at what is normally ignored or avoided. I am ultimately interested in carrying my fantasies into the physical world, as if I can convene with them here and trace them back to their origin."
Kim's practice is fueled by the tension that arises from living as both a subject and an object. She is ultimately interested in creating forums that examine our capacity to penetrate another's inner world through-or in spite of-the body.