Kitchen Table Gallery

My work addresses landscape and place-making through the lens of history and fantasy. I am interested in exploring the role of landscape imagery in a variety of contexts and in examining its impact on the politics and psychology of everyday life. While essentially documentary my images allude to science, national iconographies and popular culture as well as more idiosyncratic visions of space and place. 

https://rayklimek.com/home.html

Kell’s work typically explores the surface decoration of mass-produced objects we find in the home. She is especially interested in the conventions and ubiquity of surfaces that mimic—or are adorned with—patterns and representations of the natural world as she explores the possibility that these pervasive images are meant to maintain dominant cultural hierarchies and to condition our preferences and attitudes about gender, sex, nature, and home.

At the Kitchen Table Gallery, Kell will exhibit Beauty Rest, a collection of recent work that connects material culture and mass-production to cultural ideologies surrounding constructs of nature and femininity. Kell is using a collection of vintage mattress advertisements as an index of figurative forms to incorporate into large-scale, quilted collages that she sews with found mattress fabric and other related textiles.

https://annakell.com/home.html

Kayte Terry’s work examines the literal and figurative boundaries of the body. Through photography, video, collage, installation and object-making, Kayte unravel issues of illness, memory, dysmorphia, longing and loss. The patchwork of materials she uses form a personal language that speaks to the fuzzy intersection of personal desires and cultural expectations.

http://www.kayteterry.com/

I started making work because I wanted to dig deeper. There are some

feelings, some people, and some things that are being brought to the surface.

I go down and find them. I make work as a by-product of mental health and as

a necessary impulse. The use of oil paint lets me work into these depths and

display the desired feelings.

The human speaks volumes to me and this is why the figure is present in my

work. The figure has an endless depth though which to speak and to move.

I am interested in all of our battled emotions. I am interested in our power

struggles throughout time. I am interested in the subtleties that lie just beneath

the surface.

I am evolving emotionally, mentally, and spiritually each day. I wish to speak to

myself and to the human race through my work.

http://www.rynefuller.com/

My aesthetic is influenced by a search for harmony between the industrial and the handmade. Texture is as integral to me as color and depth. In my works in clay, I deliberately leave my finger marks to catch glaze and emphasize that my objects are handmade. In truth, all of them are of course. But in the way that a gentle curve is never truly realized until it’s placed next to a hard edge, the interplay between tight edge industrial minimalism helps to emphasize the soft, human touch in my work.

https://www.simsart.work/

http://www.littleberlin.org/jeremy-sims/

Senior Projects, Group show at Kitchen Table Gallery

This will be a group exhibition produced by the graduating senior class from the Tyler School of Art’s Printmaking department. The artists involved work in various forms and techniques in print media. The show examines memory and recollection, and the artists’ responses and reactions to these themes.

List of Artists: Pablo Alarcon, Alyssa Buchino, Celia De Caumette, Nikki D'Agostino, Shannon Dougherty, Jane Ferry, Lauren Hill, Xinyi Huang, Sarah Kinney, Stephen Klova, Elizabeth Koloski, Benjamin Kraemer, Jamie Meller, Margaux Meyer, Lauren Mueller, Nicole G Noel, Jess Parke, Mia Rosanio, Kyle Schiffbauer, Oliwia Sypien, Noelle Tweedie, and Nora Wilson.

Artist Bio:

Sarah Trad is a video artist whose work explores the relationship between subjective and objective emotionality, navigating daily life and relationships while faced with mental illness, and breaking down stereotypes of gender and narrative. The living embodiment of the correlation between chronic depression and binge-watching practices, her work consists of appropriating and manipulating found footage from movies, music videos and television. In addition to found footage, she likes to incorporate text and performance to create recognizable narrative structures that can be viewed in and outside the academy of art, as well as comment on the individual’s relationship to pop culture. 

After graduating with a B.F.A. in Art Film from Syracuse University, Sarah continued to stay in Syracuse and make several works as a recipient of Syracuse University’s Engagement Fellowship. Sarah studied Film at the Film and Television School of Academy of Performing Arts in Prague (FAMU). She also worked at the ICA/Boston, researching how to preserve new media art in the museum’s newly created Private Collection. Sarah’s work has been shown at The Warehouse Gallery (Syracuse, NY), Gravy Studio and Gallery (Philadelphia, PA) and the Everson Museum of Art (Syracuse, NY). Sarah is a member of the artist run collective and gallery, Little Berlin, where she has initiated curatorial exchanges with other collectives in New Orleans and Ottawa. Sarah currently lives and works in Philadelphia, PA. 

Exhibition Statement: 

In sickness and in health (but mostly, just in sickness) explores the difficulties of seeking companionship while faced with mental illness, codependent tendencies and metaphysical crisis. The title, partly taken from traditional marriage vows, highlights the optimistic decision to bond while many of the works represent realistic, minute and awkward attempts to connect. The video projections included in the exhibition are part of a decade long series of the artist’s, which explores the disjunction between subjective and objective realities. The projections previously included single characters rotoscoped (cut out) from various films depicting moments where the figures exuded a brief but profound moment of existential displacement, unknown to anyone but themselves. For these new works, created from 2017-2018, couples were rotoscoped to display such isolation in a different way. When plagued with anxieties and disorders, efforts to escape and find the subjective “truths” of others can result in the loss of one’s own identity. These moments are unnoticed but brave ventures to form communities at the risk of vulnerability and loss. In sickness hopes to display that in spite of personal struggle, there is still the audacity of caring. 

Amanda Grace Finkel received her BFA in Photography from Ohio University and her MFA in Visual Art from Columbus College of Art and Design.

She is a fine artist who utilizes the medium of photography and collage to push the bounds of the photographic object, the way women are portrayed in imagery, and the way we look at and consume images.

https://www.amandafinkel.com/#1

Emma's work consists of multiple parts using different glass techniques combined with other mediums, drawings, found manipulated objects, and video. She creates installations and discrete works that deal with personal experience, psychological and symbolic content. Emma Salamon was born in France where she spent her early childhood, then moved to New York, Italy, and Argentina. She came to the States for college and received her B.F.A. from The University of the Arts where she was introduced to glass, and M.F.A. from Tyler School of Art, Philadelphia. Emma was recently teaching glass at Tyler School of Art and is the Assistant of Glass Director at The National Liberty Museum in Philadelphia. She has shown around the Philadelphia area, and is a co-founder and active member of the artist collective The Burnt Asphalt Family. She has been featured in the New Glass Review,33, 2012, and 37, 2016, as well as Laura Donefer's book "Glass Fashion Extravaganza". You can view more of her work on her website at emmasalamon.com

https://emmasalamon.com/home.html

Homeroom is an emergent Philadelphia collective. Started in 2016 as crit group by alumni from Tyler, PAFA and several other regional schools, the group has begun to branch out into new endeavors including creating curatorial and exhibition opportunities. The group meets often to act as an all around creative network and community for one another, while maintaining its roots of promoting growth in one another's work through critique groups.

"Self-Titled" is the group's second exhibition undertaking, following it's debut at Spillway gallery in July 2107. This show features work from, Alan Kordas, Bryant Girsch, Dave Pettengill, Kate McCammon, Kimi Pryor, Matt Higgins, Sophie Brenneman, Sam Jones,Seth Madden, Travis Grant, and Steve Basel. We are Homeroom, and we are pleased to meet your acquaintance. Please join us for the opening of "Self-Titled", Friday January 11th, from 7 to 10pm at Kitchen Table Gallery. This exhibit is curated by Dave Pettengill, co-curated by all exhibiting artists, and is made possible by the wonderful Louise O' Rourkefrom Kitchen Table Gallery

Justin Phillips earned his MFA from Pennsylvania Academy of the Fine Arts and his BFA from Pennsylvania College of Art and Design.  He gathers his inspiration for image making from “the energy and dynamics of daily life and inner workings of the world in which we live.” In addition maintaining his studio practice and exhibiting his artwork, Phillips finds much enjoyment in teaching and sharing his knowledge and experiences with his students.  He is currently a faculty member for Pennsylvania College of Art and Design, University City Arts League

https://www.justinphillipsart.com/

http://www.mattcoombs.com/

The work in Pillow Talk draws the viewers' attention to the moment
between words. 
What is not spoken expands.
It is the distance between lovers in bed. 
It is the pauses between morse code dashes. 
These queer artists use a cacophony of materials to articulate these otherwise indescribable moments.

Marcelle Reinecke is an artist who lives and works in Philadelphia, PA. 
b. 1989, New Orleans, LA

We’re both in bed. I’m staring at the back your head. This bed is an ocean. The space between us ebbs and flows. We bob and bump in the night.

www.marcellereinecke.com

Joshua Hebbert was recently described as a hopeless romantic who isn't romantic. Someone else said he was a conceptually based object maker. He navigates these contradictions while being a resident at The Clay Studio in Philadelphia. 

www.joshuahebbert.com

This show is a collection of work by Intermediate and Senior students in the Fibers & Material Studies Department at Tyler School of Art.  The work explores a myriad of themes from home to absurdity to form and issues of class. 

Wait Lost Centered

Delay behaviors,
until something else happens.
I'm unknown
after finding my way. I do not know where I live.
Follow the specified object and make it an element.

How are you keen on becoming all things?
How are you trying to do everything?

Not that the difference becomes more prominent, but we all became one.
From this moment
we can exist
as a body
of the floor
if we can fall far underneath ourselves.

Even if we are here, we can be here.

Our body, our mouth, the feet - that everything touches
things happen around us.

Ted Carey:

My thoughts are glacial, but my actions volcanic. Entropy is erotic and gravity is a tyrant. The honesty of rocks and the anxiety of time guide my creative compass.

http://www.briefbird.com

Kasey Toomey:

I am interested in space and objects that are open to intersecting with each other and with us. The definite is definitely not a thing.

http://www.toomstudio.com

http://www.zach-zecha.com

Zach Zecha is a human, fairly imperfect. He makes art, and hopes to be more than the sum of his parts. 

Patrick Coughlin received his BFA from Syracuse University and his MFA at The University of Florida. Patrick has been a resident artist at Watershed Center for the Ceramic Arts and Genesee Center for the Arts, and has exhibited work nationally and internationally. He has lead demonstrations and been a visiting artist at many institutions such as the University of Montana, Jacksonville University, and Roswell Art Center. Prior to moving to Philadelphia Patrick lived and worked in Jingdezhen, the ceramic center of China. As an assistant in the design studio he worked with local craftsmen in the production of design goods for a global market. Also in China Patrick assisted in the management of the Education Center where he facilitated international exchange and instruction. His work has primarily focused on objects of material culture and their relation to process, heritage and domestic spaces.

Through modern medicine, preservatives, polymers, hormones etc., we have, as a race, indeed, “escaped the limits of nature.” All these creations are here to improve our way of living, but at what cost? Cancer, birth defects, and most other afflictions are at an all time high. Children are developing at an accelerated rate and the world we live in becomes more unrecognizable every day. In a modern world where industry is the driving force, nature takes a back seat. This relationship between Industry and its effects on humanity and our planet is what I explore in my work. I use the contrast of industrial and oddly organic forms to draw attention to the issues that need to be addressed in the average daily life and environment.

http://jerrykaba.com