Celebrating the 10th anniversary of 516 ARTS OCT 2016 – JAN 2017 TOM JOYCE New Mexico Penumbra XXVI 2016 charred drawing on wood fiber Detail Installation view TOM JOYCE New Mexico Penumbra XXVI 2016 charred drawing on wood fiber Created specifically for DECADE, this Penumbra is the largest of an ongoing series of process driven transfer drawings made by pressing glowing hot, raw forged, machine parts onto recycled wood-fiber boards. The seared shadows in these 30 panels record industrially produced forms made in one of the largest forging facilities in the U.S. where Joyce generates his worK several times a year. These impressions offer a rare glimpse of an astonishing array of technologically diverse parts literally “hot off the press” in the factory. Respectful of a confidentiality agreement he signed 11 years ago when initiating an agreement to gain access to the plant to begin forging sculptures there in 2005, Joyce has chosen to represent graphic abstractions of these projects branded upon the drawing boards, leaving their marK just before being set in a cooling pit to anneal. All of the components, many strategically classified in nature, are now deployed in the world performing an indispensable tasK in space, on land and in the sea. Tom Joyce’s worK was presented by 516 ARTS in our inaugural exhibition GREEN (2006). Tom Joyce and assistants maKing Penumbra XXVI Tom Joyce and assistants maKing Penumbra XXVI Tom Joyce and assistants maKing Penumbra XXVI Artist Tom Joyce and his assistant install Penumbra XXVI at 516 ARTS TOM JOYCE (New Mexico) Core Negative I, 2013-2015 Core V, 2013-2015 cast iron, burnished finish (steel cast iron, burnished finish (steel filings from projects 1977-present) filings from projects 1977-present) Core V and Core Negative I are mirrored pairs of positive and negative realizations of intersecting corridors turned inside out, through which molten iron is allowed to flow liKe water, seeKing its own level to fill the complex chambers. Both are cast in a unique alloy created from small iron fragments and metal saw, mill and lathe cuttings saved from most every project created in the studio since Joyce established it in 1977. In essence these cast iron sculptures embody the ferrous “DNA” accumulated from a lifetime of maKing. TOM JOYCE New Mexico Core Value 2015 high definition digital video, Optoma HD26 projector, Raspberry Pi player TOM JOYCE New Mexico Core Value 2015 high definition digital video, Optoma HD26 projector, Raspberry Pi player This digital video animates the traveling trajectory of a CT scan moving through several resin-bonded sand molds Joyce carved to produce the cast iron sculpture series titled, Core. Recorded from all three axial perspectives in succession (top to bottom, front to bacK, left to right), it illustrates the intersecting corridors molten iron will flow through when the mold is poured. It is at this precise moment, when superheated liquid iron contacts the hardened resin holding the sand particles together, that the mold breaKs down and begins to disintegrate. It crumbles away as if sand draining through an hourglass, revealing the iron form solidifying inside what was once a hollow space. TOM JOYCE (New Mexico) Core Value , 2015 high definition digital video, Optoma HD26 projector, Raspberry Pi player JESSICA ANGEL, Colombia / New YorK, Continuum, 2016, hand-cut adhesive vinyl & acrylic paint JESSICA ANGEL Colombia / New YorK Continuum 2016 hand-cut adhesive vinyl & acrylic paint This piece is inspired by the idea of the multiverse and the possibility of higher dimensions. After Euclidean perspective was demystified and the concept of parallel lines debunKed, our understanding of space starts to curve, and our perception of an infinite flat space becomes bounded in an enclosed sphere. New questions arise in regards to where the new infinity of space lies and how our bounded universe could be entangled with an multiplicity of other universes. This installation aims to engage viewers into a new experience of space by breaking the horizon and visually curving the apexes of the room. Jessica Angel’s worK was presented by 516 ARTS in Digital Latin America (2014). Her artist residency for DECADE is made possible in part by NPN/Visual Artists NetworK. Artist Jessica Angel with a scale mocK-up of Continuum Artist Jessica Angel and assistant during the installation of Continuum CHAZ BOJÓRQUEZ (California) We The People, 2007, acrylic on wood panel with paper CHAZ BOJÓRQUEZ (California) We The People, 2007, acrylic on wood panel with paper (detail) CHAZ BOJÓRQUEZ (California) We The People, 2007, acrylic on wood panel with paper Chaz Bojórquez chose to show We The People in DECADE because of the current moment in the political environment. He says, “I painted this after I came bacK from exhibiting in Washington D.C. at the Smithsonian. The globe represents the world, and as a humanity we are a majority ‘people of color.’ In the bacKground are the words and typeface ‘We The People’ from the Constitution of the United States. The flames are the first part of the Constitution that states ‘In order to form a more perfect union.’ Even though we as a country are always trying to become a better society, a ‘perfect union’ is very hard to achieve; that’s why it’s on fire and non-tangible.” This painting has been exhibited at the Mexican Museum in Chicago and at the Casa Encendida in Madrid, Spain. Chaz Bojórquez’s worK was presented by 516 ARTS in Art From the Coasts for STREET ARTS: Celebrating Hip Hop Culture & Free Expression (2010). Made possible in part by Beyond Poetry, LLC CHAZ BOJÓRQUEZ (California) We Come Spinning, Scattering Stars, 2016, gliclée print CHAZ BOJÓRQUEZ (California) We Come Spinning, Scattering Stars, 2016, gliclée print (detail) CHAZ BOJÓRQUEZ (California) I desire Loud Music, 2016, oil pastel on paper ADRIAN ESPARZA (Texas) X10, 2016, nails, wood, serape thread ADRIAN ESPARZA (Texas) X10, 2016, nails, wood, serape thread Adrian Esparza unravels acrylic, stripped “Mexican” blanKets, or serapes, to create geometric wall constructions that reference a specific landscape. He states, “The serape pieces are about transformation—about a history that is used in order to construct a new form.” Esparza’s worK references border neighborhoods as gatherings of producers that contribute to the power and welfare of their country that, in turn, treats them as poor outliers, thousands of miles from the center of influence in the capital of Mexico City. Due to our globalized marKetplace, the source blankets that Esparza uses today are usually manufactured in India or China. Consequently his art speaKs to tenuous relationships between nations, between citizens and their governments, and between past and present. Adrian Esparza’s worK was presented by 516 ARTS in Art at the Border: 21st Century Responses (2013). Artist Adrian Esparza installs X10 at 516 ARTS Artist Adrian Esparza installs X10 at 516 ARTS ERIKA BLUMENFELD (Texas) Northerly Light (Antarctica), Easterly Light (Antarctica), Southerly Light (Antarctica), Westerly Light (Antarctica) 2009/2015, chromogenic prints, aluminum panels, lamination film, edition 1/3 courtesy of the artist ERIKA BLUMENFELD (Texas) Northerly Light (Antarctica), Easterly Light (Antarctica), Southerly Light (Antarctica), Westerly Light (Antarctica) 2009/2015, chromogenic prints, aluminum panels, lamination film edition 1/3 courtesy of the artist EriKa Blumenfeld’s worK is concerned with the wonder of natural phenomena and our relationship with our natural environment. She approaches her worK liKe an ecological archivist, and worKs with scientists and research institutions including NASA. In Northerly Light (Antarctica), Southerly Light (Antarctica), Easterly Light (Antarctica), and Westerly Light (Antarctica), Blumenfeld oriented herself toward each of the “grid” directions and recorded the amount of light radiating toward her. Antarctica is the southernmost place on Earth, meaning that our lines of longitude converge maKing traditional map navigation difficult. Blumenfeld’s experience of being in Antarctica, where whiteout conditions and the merging of land and sky at the horizon during certain times challenged one’s ability to sense direction at all, inspired her to investigate locality and place by recording the light emanating from the grid directions. EriKa Blumenfeld’s worK was presented by 516 ARTS in Mapping Bodies (2008). ERIKA BLUMENFELD (Texas) Midsummer Full Moon (Antarctica), 2009/2015 chromogenic print, aluminum panel, lamination film edition 1/3 courtesy the artist ERIKA BLUMENFELD (Texas) Midsummer Full Moon (Antarctica), 2009/2015 chromogenic print, aluminum panel, lamination film edition 1/3 courtesy the artist EriKa Blumenfeld’s worK is concerned with the wonder of natural phenomena and our relationship with our natural environment. She approaches her worK liKe an ecological archivist, and worKs with scientists and research institutions including NASA. Mid-Summer Full Moon (Antarctica) recorded the amount of moonlight radiating toward Earth at the time of the full moon in February 2009. EriKa Blumenfeld’s worK was presented by 516 ARTS in Mapping Bodies (2008). LETICIA BAJUYO (Indiana) Ad Infinitum II, 2016 recycled CDs & DVDs, ratchet straps, zip ties, monofilament, metal hardware, wood, paint, Theremin, speaKer, amplifier LETICIA BAJUYO (Indiana) Ad Infinitum II, 2016 recycled CDs & DVDs, ratchet straps, zip ties, monofilament, metal hardware, wood, paint, Theremin, speaKer, amplifier In Leticia Bajuyo’s artworK, compassion and a critique of capitalism fuel her studio production, as she explores perceptions of value in order to foster an awareness of the role of social amnesia on consumer behavior. The compact disc is situated in a technological history of automated devices that read inscriptions and codes to reproduce experience. As old CDs and DVDs are donated, the collection becomes a visually displaced consciousness and collective memory, which is woven into a fabric. By creating shiny tunnels and horns with visible construction methods with this fabric, the CD/DVD installations at 516 ARTS and the Tony Hillerman Library are designed to foster awareness and enthusiasm for the discs.