2015 - 2016 Artists in Residence Exhibition: Zachary Moser, Diana Puntar & Michael Waugh
June 4, 2016 - July 23, 2016
The Galveston Artist Residency is excited to announce our 5th Annual Artists in Residence exhibition, featuring work by 2015-2016 residency artists Zachary Moser, Diana Puntar, and Michael Waugh. The show will be on view from June 4th - July 23rd, 2016. Please join us for an opening reception to celebrate the artists on Saturday, June 4th from 6-9pm with music by Thomas Helton's Boomtown Brass Band and food by Himalayan Taste.
Zach Moser facilitates collaborative and interactive investigations, designed to discover alternative methods of communication and new expectations of human potential. His work focuses on pursuing knowledge, alleviating the critical effects of injustice and participating in creative communities. He is co-founder of Shrimp Boat Projects, Workshop Houston and The Big Parade.
During his stay at GAR, Zach Moser took a hiatus from Shrimp Boat Projects to begin a new series of work. He is exploring new materials in smaller scale sculptures while continuing to take his inspiration from the landscape of the Houston region. The work responds to the built environment of Houston as the quintessential expression of contemporary capitalist culture, unmitigated by the remnants of past eras' values and design.
Moser received a BA in studio art from Oberlin College in 2002 and attended the Skowhegan School of Painting and Sculpture in 2008. He has exhibited his work and projects at the Contemporary Art Museum of Houston, the Glassell School of Art and Diverseworks Art Space. He received the Compton Mentor Fellowship in 2003, the Artadia Award in 2006, the Idea Fund in 2008, in 2011, was an Artist in Residence at the University of Houston Mitchell Center for the Arts, and in 2012 received a Creative Capital Visual Arts Award .
Diana Puntar is a sculptor - object maker - installation artist - collaborator and educator. Her current work continues her investigation of the vague and often muddy edges between the natural and constructed world.
While at GAR, Diana developed her series of work titled Meat Rock. Corresponding with recent travels, Diana has been collecting rocks, pebbles and small boulders that look like fleshy chunks of meat. She imagines these anthropomorphized hard lumps of inert matter as proof of consciousness and vulnerability -- evidence of our connection to each other and the organic world. Their ancientness and persistence as much as their corporeal appearance is part of the fascination.
Each Meat Rock sculpture is a collection of rock, constructed form and found objects arranged as a theater of relations. Some of the rocks are set into minimalistic bases while others sit free. The complex structures, formal considerations, references and various found objects of each sculpture lead to numerous entrances and pathways, starts stops and connections ranging from human caused environmental degradation to the patriarchal history of western sculpture to the meta-commercialization of the art world/market. The rocks are at once beautiful and grotesque - vulnerable body parts from a delicate world.
Her work has been exhibited at PARTICIPANT INC, Blackston, PS1/MoMA, Luhring Augustine Gallery and other notable venues. She is the recipient of two Pollock Krasner grants, a NYFA Fellowship and has been an artist in residence at Yaddo, ArtOMI and the Millay Colony.
Waugh is best known for his large, representative drawings, formed using minuscule handwritten words, a practice known as micrography. In these drawings, Waugh transcribes texts -- such as government commissions and theoretical books about power and capitalism --into unsettling portraits and landscapes.
The three drawings Waugh is presenting for the show at GAR each seem to present something straightforward: a pelican, a horse, an architectural detail. The largest drawing shows a fallen horse, craning its neck to look at a boy riding another horse towards a house in the distance. Looking closely, one can make out words and phrases: "tranches," "securities," "parent company," "failure." But those are just a few words among thousands, among the 110 pages that have been copied by hand from the congressional Financial Crisis Inquiry Report. There are more direct ways to critique or mourn the largest destruction of middle-class savings in history -- than to spend seven months of full-time work composing and drawing a bucolic scene of a horse and copying a bureaucratic report.
The three drawings in the show do not offer easy answers about the housing crisis, the political stance of the report, nor the nature of artistic labor. Yet the refusal to make an obvious political stand is not coy -- nor is it frustrating. These drawings are deeply pleasurable. Anyone who can write can identify with how long it would take to copy that many words -- a viewer can feel that labor viscerally. Looking at the drawing closely, trying to identify words amid the scrawl becomes a game -- actually fun. The serious topics referenced in the drawings are connected, part of a rich world. Meaning is neither hidden nor codified. It's just complicated -- as it should be.
Michael Waugh was born in Cambridge, MA. He earned his graduate degree in painting at New York University in 2000 but he also has degrees in writing acquired at Texas State University and history at the University of Texas. He has exhibited internationally for the last fifteen years and his work has been reviewed by the New York Times, Art in America and ARTNews. He is the recipient of awards of the New York Foundation for the Arts, The Marie Walsh Sharp Space Program and the Pollock-Krasner Foundation.The artist lives and works in Brooklyn, NY.
For more images from the exhibition, please visit our facebook album, here.