February/March 2018

Laura Sennhauser

November 2017:

Peter Rand is an artist working with video, installation, interactive media, sculpture, socially engaged art, and performance. His work focuses on a variety of topics including identity, urban spaces, technocentrism, synesthesia, and the absurd. Peter’s work has been exhibited internationally and he has collaborated on public art projects for the cities of Santa Monica, Dallas, and Rome. He has received a BFA in New Media Art from the University of North Texas, and an MFA from the School of the Arts & Architecture at UCLA.

During his one month residency at Popps, Peter will continue to develop his ongoing project,  “A to B”, wherein, “toolsets”, often taking the form of awkward and precarious steps, are constructed for the purposes of moving forward. Shifting and reassembling the crude sculptures beneath him, the process becomes his supporting system to get him from here to there. “A to B“, examines the hard questions of privilege, unpredictability and the unique tools each of us have been given to move forward.

Patrick Schlotterback has recently returned from Brooklyn, NY to Baltimore, MD where he was born and attended the Maryland Institute College of Art. Patrick’s work uses installation, green screens and videos to communicate via a prism, dividing the source into separate continuous paths. The work interrogates emotional identity and the body’s complicity in it’s existence, fetishizing ambient acts such as flowing (smoke, water, sand) as metaphors. 

Patrick’s focus at Popp’s will be making objects for installations and videos, shooting video, and writing voice overs for video works.

October 2017:

Gabi Blum (*1979 in Michelstadt, Germany) lives and works in Munich. After some years of training at the Design School in Munich and working as a graphic designer, she studied from 2008 to 2014 sculpture at the Academy of Fine Arts Munich in Prof. Stephan Huber’s class, she was part of the project of visiting professor Schorsch Kamerun and for her diploma she developed a re-enactment of a painting by Edward Hopper. 2015 Gabi Blum received the Bavarian Art Award and the Debutantenförderung by the Bavarian State Government and in 2016 and 2017 project fundings by Bernhard-Borst-Stiftung and Steiner Stiftung. This year she is traveling with the USA scholarship of the Bavarian State Government.

Gabi Blum’s works combine walk-in installations, performance and painting with video art. Her Performances have a ritualistic quality in which she finds ways of celebrating the end of the world and other chaos scenarios. Additionally, Blum works with ironic images of the stereotypical perception of women, including the secretary, model, cowgirl, snake woman or showgirl.

At Popps, Gabi Blum will be working on her new artist book as well as delving into all things Hamtramck. Her research of the people places and architecture here may culminate in a video project, (maybe romantic) paintings and sculptural tryouts.

Anna McCarthy will be working on the new version of her ongoing project HOW TO START A REVOLUTION (HTSAR) – a multi-layered work that deals with clichés of rebelliousness and humorously lays open the tools of smoke and mirrors audience manipulation. It deals with rebellion in a limbo situation, in which change seems ominent, mirroring the current political atmosphere, specifically centring around the shift from left to right in the Western world. Geographically anchored in Munich and Bavaria, it reaches beyond the local peculiarities and relocates them into the context of historical global events, in this case Hamtramck/Detroit. A microcosm of reoccurring people and places stand in as exemplary figures for global events in a humorous, absurd, and critical manner.
http://www.annamccarthy.de/howtostartarevolution.html.
https://soundcloud.com/annamccarthy-1/sets/how-to-start-a-revolution-the
http://www.editiontaube.de/produkt/how-to-start-a-revolution-special-edition/

Additonally, Anna hopes to work on new non-contextual drawing and painting work in the house, garden and surrounding area, and to collaborate with local musicians in one way or another.
http://annamccarthy.de/drawings.html

Gabi and Anna are long time friends who have a history of working  together, including spending 8 years as bandmates in DAMENKAPELLE. Although they are working on different projects during their time at Popps, they will continue to support each others work.

Links to their collaborative works:
http://www.annamccarthy.de/naendenaendenawida.html
and band:
https://www.facebook.com/DAMENKAPELLE-136729598093/
https://damenkapelle.bandcamp.com/
https://www.youtube.com/watch?v=kkfnBn95DB4


September 2017:

Momm and Popp Residency

Popps Packing is excited to welcome Kaitlynn Redell and family to Popps for a 3 week residency this September.

Kaitlynn Redell is a visual artist based in Los Angeles, CA.  She received her BFA from Otis College of Art and Design in 2009 and her MFA from Parsons the New School for Design in 2013. Her practice is invested in the exploration of race and gender in relation to the body and how the body becomes codified within these socially constructed categorizations. More specifically she is interested in inbetweeness and how “unidentifiable” bodies—that do not identify with standard categories—negotiate identity. She has participated in numerous exhibitions nationally and internationally including at El Museo del Barrio (NYC), Rush Arts Gallery (NYC), A.I.R. Gallery (NYC), Western Project (LA), Los Angeles Municipal Art Gallery (LA), Charlie James Gallery (LA) and Museo Laboratorio – Ex Manifattura Tabacchi (Italy). She currently has work included in the 32nd Biennial of Graphic Arts: Birth As Criterion, in Ljubljana, Slovenia.

Additionally, Redell has a bi-coastal, collaborative practice with Sara Jimenez. Redell & Jimenez have been engaged in intense collaboration since attending Site + Sight, a visual research project in Beijing, China and The Gobi Desert. Since forming Redell & Jimenez, they have presented their work at Hunter College’s Focus and Motivation, and have been published in NYU’s interdisciplinary journal Anamesa and in The Brooklyn Rail.

Redell is a frequent teaching artist throughout the Los Angeles area and has lectured and given workshops at institutions including The J. Paul Getty Museum, The Craft and Folk Art Museum, The Brentwood Art Center, The Gamble House (in conjunction with Machine Project) and Pomona College. 

not her(e) Project Description:

not her(e) is a performance-based series where Redell becomes camouflaged and a part of the furniture while performing everyday acts of care for her child.  It explores how life as a caregiver is about being used as well as being invisible.  Redell is the primary caregiver in her family and is interested in how structures of power are set up to produce this particular dynamic of childcare.  She is interested in both the privileged and the problematic aspects of her situation  More specifically, the two very contentious facts that come into play: student loans and gender/occupation salary inequality.  She interested in the duality of feeling grateful, yet uneasy, as she and her partner begin to tumble into such normative roles. 

During Redell’s residency at Popps, she plans to further research other parents’ feelings on caregiving, be it full-time parents or working parents.  She is interested in their thoughts around the physicality of childcare, gender roles, financial dynamic, outside support (familial or otherwise), etc. and will be holding a caregiver and child workshop that will nurture these discussions through collaborative art making.

The Momm and Popp Residency is made possible with support from the Sustainable Arts Foundation.

See More from popps packing

June/ July 2017

John Bianchi,  New York, USA – (Painting, mixed media sculpture and installation)

John Dante Bianchi (b.Nashua. New Hampshire) received his BFA from Cooper Union and his MFA from Yale University. He lives and works in Brooklyn, New York. He has exhibited at Galerie Derouillon in Paris, Tyler Wood Gallery in San Francisco, Night Gallery in Los Angeles, Thierry Goldberg Gallery in New York, Signal Gallery in Brooklyn, Kai Matsumiya in New York and David Zwirner Gallery in New York. He has received press coverage in Art Forum, The New York Times, Architectural Digest, Bomb Magazine, Observer, Vice’s The Creators Project, ARTNEWS, Interview Magazine, Blouin ArtInfo and Teeth Magazine.

His recent bodies of work – the Bruised Panels, Torqued Panels and Relief Panels- refer in name to the physical process of their making. Bianchi’s wall-based works are both sculpture and painting, emerging from the wall or built in many layers and exactingly constructed all the way through, from stretcher to support to surface. Much of Bianchi’s work explores the ideation of the pieces as a body (an Object), which is exposed to forces of time and events leaving their mark. The Bruised Panels, for example, are speckled with colors that directly reference skin tones and bruises: pinks and blues and creams. They are built up in layers and sanded down to reveal textures and colors beneath. Bianchi’s work encapsulates a sense of time within it, not only in the sense of process, but in some of the materials he chooses, such as recycled redwood ( the world’s largest and longest-living trees) to make his freestanding sculptures.


James Carey, Melbourne, Australia- (Drawing, painting, sculpture and site responsive interventions).

James  Carey (b. Melbourne Australia) received a Bachelor of Design in 2005 from RMIT and PHD  from the RMIT School of Architecture & Design in 2016. Carry’s creative practice research explores process-based interventions within decommissioned buildings and gallery spaces. The methodology he engages with is one of working responsively, allowing particular temporal conditions to surface within these sites and situations. The potential of these conditions are then engaged with in ways that do not seek to prescribe an outcome in advance. Sites are inhabited in time, and specific rendering techniques – such as drawing and mark making – are introduced. These situations are then reassembled through a variety of processes, and the marks made materialize immateriality, allowing the residue of particular processes to be assembled as collections of materialized and spatalized time. 

Recent projects and exhibitions include between two homes 2016 commissioned by Hobson’s Bay Council and presented by Blackartprojects, sighting 2016 commissioned by MCES and presented by Blackartprojects, to wonder / to wander 2016 in collaboration with Megan Cope and the Culpra Milli Aboriginal Corporation, Mildura Arts Centre, beginning in incompleteness: works in formation 2015 at RMIT Project Space / Spare Room, wall work[ing] 7 2015 at Kings ARI and rendering the [im]material, a visual essay published in the IDEA Journal 2012. James has been the recipient of an Australia Arts Council New Work grant in 2010 and also received an Honourable Mention at the Shanghai Biennale in 2007.


Juliette Pepin  (Paris, France)(Social & speculative design and Installation)

Juliette Pépin is a multidisciplinary designer based in Paris. While studying at the Design Academy Eindhoven and doing internships at Intégral Ruedi Baur (Communication – Fr) and Onomatopee (Editorial/Gallery – Nl), she developed skills in a wide range of domains such as communication, conceptual design, research and cultural mediation. She currently works with different institutions such as the Gemeente Eindhoven with her educational project M.O.T.S. ― Social Design Award 2016, as well as a trained communication designer for individuals and institutions.”

 


 Coming in July 2017:

Kambui Olujimi, New York, USA

Kjellgren Alkire, Lake City, Minnesota

Maisha Baddoo, Toronto, Canada