Studio Jam Sunday #1

There is nothing quite like the sensation of listening to the perfect tune while working in the studio. Listening to music is a staple to the practice of many working artists. It is no different here at Occam Projects; we are constantly looking for and listening to new music to keep us inspired in the studio. We wanted to share with you five of our favorite studio tracks in our first weekly Sunday Studio Jam compilation. We hope that these songs aid you in your creative practice!

To submit a tune for next weeks list send an email to info@occamprojects.org with the name of the band and the song and we will do our best to hunt it down!

#1 Mum - Smell Memory

múm - Yesterday Was Dramatic - Today Is OK (2001)

#2 Blackrock - Yeah Yeah

Rare Funk 7.

#3 William Onyeabor - Poor Boy

Provided to YouTube by The Orchard Enterprises Poor Boy · William Onyeabor Box Set ℗ 2014 Luaka Bop Released on: 2016-12-16 

#4 CBC Band - Tinh Yêu Tuyệt Vời (The Greatest Love)

Saigon Rock & Soul: Vietnamese Classic Tracks 1968-1974 

#5 (Reader Submission) Sylvan Esso - Coffee

Sylvan Esso - Coffee From the album Sylvan Esso - OUT NOW Purchase from iTunes: http://smarturl.it/SylvanEsso.iTunes Follow on Spotify: http://ptsnre.co/SESpotify Dan Huiting - Director/DP/Editor Martin Anderson - Producer Will Hackney - Producer Jesse Meehl - Steadicam Operator Josh Sliffe - Additional Camera Andrew Synowiez - AC/Grip Matt Moore - Gaffer Dear Hearts - Styling Special thanks: The Huse Boys Kym Register and The Pinhook Alicia Best David DiGiuseppe and Footloose The Carrboro Century Center Austin Simmons http://www.sylvanesso.com http://www.facebook.com/SylvanEsso http://www.twitter.com/sylvanesso

Announcing "Alone Together" - New Works by Kylie Why

2017 is already off to an exciting start here at Occam Projects. Ringing in the year with a bang, we hosted an exhibition of new paintings by Taylor Clough in "Is, And of The." We were humbled to have had such a great turnout for our opening reception; there are few greater pleasures than seeing so many new faces, old friends, and genuinely exciting people sharing our space. As always, thank you so much for your kind words and continued support, it means the world to us. Just in case you missed it, we were fortunate to have a fantastic review in Big Red and Shiny written by Alexander Castro. Filled with wonderful insights into Clough's process and paintings, it is certainly worth a read. Looking to the future, we are very excited to share our next exhibition with you!

Occam Projects is pleased to announce Alone Together, a solo exhibition featuring new works by Providence-based artist Kylie Why. Featuring a diverse array of photography, performance, and installation, the work in Alone Together explores layers in intimacy through captured fleeting moments and introspective representations of self. 

Kylie Why. Here Fishy Fishy. Digital Photograph, 2013.

Kylie Why. Here Fishy Fishy. Digital Photograph, 2013.

The body of work presented in Alone Together is a collection of fragmented memories, explorations in intimacy, and meditations on self. Informed by an urgency to capture and to explore fleeting moments Alone Together is simultaneously playful and devastatingly candid. Why’s small photographs and documented performances suggest an awareness of the viewer’s presence, considering their gaze as an implicit element in actualizing the work. Faced with a visual dilemma, viewers are confronted by the candor found in intensely private moments. Are we meant to be privy to these passing moments or have we become voyeurs into the sanctity of another’s intimacy? In contrast, Why’s large theatrically staged photographs are playful reactions to the sincerity of these passing moments. Utilizing a series of clown personas and staged happenings, Why’s carefully considered images  address the absurd and performative nature of externalized identity.

The opening reception for Alone Together will take place on Saturday March 18 from 6:00 - 10:00 pm. Alone Together will be on view from March 18 - April 2 with a closing reception and live performances taking place on Saturday, April 1 from 6:00 - 10:00 pm. Viewing hours for Alone Together will be on Saturdays and Sundays from 12:00 - 5:00 pm or by appointment.

Kylie Why. The Tub Between Us. Digital Photograph, 2016.

Kylie Why. The Tub Between Us. Digital Photograph, 2016.

About the Artist:

Kylie Why is a multi-media artist living and loving in Providence, Rhode Island. Their most active focus is primarily in performance and video art, drawing inspiration from interpersonal relationships and theatrical background. Their hope is to capture passing intimacies and express their sincere devotion to interpersonal expression through varying art forms. Why hopes to create genuine connection with their audience however fleeting their interaction might be.

Announcing "Is, And of The" - New Paintings by Taylor Clough

With 2016 drawing to a close we are incredibly excited to move into our next year of programming at Occam Projects. Starting the year off with a bang, we are pleased to announce “Is, And Of The” a solo exhibition featuring new paintings by Taylor Clough. Clough depicts seemingly familiar spaces and objects which are made alien through use of dynamic color, absence, and ambiguity of space. 

Taylor Clough. Window. Acrylic and oil on canvas. 2016.

Taylor Clough. Window. Acrylic and oil on canvas. 2016.

Teetering between representation and abstraction, Clough’s paintings are the result of a fight and reconciliation with paint. The work in “Is, And Of The” is a hazy nod to remembered apartments, empty pools, and distorted interiors. Using vibrant and otherworldly colors paired with expressive brushstrokes of intimately thick paint, Clough imbues seemingly empty planes of space with a voice as loud and empathetic as the objects they surround. Though lacking figurative elements Clough’s paintings seem to suggest that we are witnessing events just after the fact; the absence of the figure hauntingly suggesting their former presence. In this way, Clough acknowledges life by painting the space around it, resulting in a lasting visual tension between what is and isn’t.

Taylor Clough. Pool. Acrylic on canvas. 2016.

Taylor Clough. Pool. Acrylic on canvas. 2016.

The opening reception for Is, And Of The will take place on Saturday, January 14 from 6 - 10p at Occam Projects. This exhibition will be on view from January 14 - January 29 with a closing reception on Saturday, January 28 from 6 - 10p.

About the artist:

Taylor Clough is a New England based painter who has lived and worked in both Connecticut and Massachusetts. She received her BFA in painting from Montserrat College of art in 2014. Clough creates paintings involving the human lived experience of everyday spaces and layered realities. Clough has shown throughout the Northeast and plans to pursue an MFA in Painting

For more information about this exhibition, click here.

 

 

Occam Projects Interviews Eben Kling

Occam Projects: Tell us a little about your process. How does a painting begin for you? Do you feel as though the image is found via your process or that you have a concrete image in mind before you begin?

Eben Kling: The Last year or so I've been making images differently than I used to. Previously, I would begin working with an urgency, always pulling from drawing and painting directly and the work was a little more anecdotal or even autobiographical, for lack of a better way to put it. These days the images are far more designed and calculated--really hinging on appropriation and thievery. Though the content of the images is similar (still frantic and convoluted--still excessive) they hinge on popular images more as a catalyst to talk about larger societal (almost always American) woes.

The beginning of every picture has a different origin. I collect a lot. Mostly photographs and drawings, advertisements, magazine and the occasional objects. Sometimes these images that are found, the ones I have proclivity to using will be a great jumping off point for me, other times I have a narrative in mind I need to search google or old books for awhile until I find the pieces to realize it.

OP: Could you tell us a little bit about how you collage found imagery into your paintings? How does removing images from their original context change their meaning?

EK: In regard to found images in my paintings, they are primarily cartoons stolen from stock folders or google image search, stuff like that. I've always loved cartoons and been compelled to use them for a long time. The people that I paint, or invent...? Not really sure how to put it, but the figures that I render I suppose--they themselves are very plastic and inflated, existing in their own separated and physical plane. They resemble cartoons already, but are slightly bent, maybe a little more physical than the ubiquitous cartoon figure. The addition of very flat cartoon icons in the painting is a recent decision. Typically they are juxtaposed next to, sometimes in front of more troubling content, like a GOP debate, a sidewalk dispute post fender bender or dirty water in the long island sound. When placed there they start to function as a sarcastic veil maybe, concealing a more insidious backdrop. Cartoons have always been utilized to temper things like violence and trauma--it's in this way that I am using them too, it's not terribly different from their intended function.

Eben Kling. The Kids Love It  Acrylic on canvas. 2015.  

OP: Do you find that your subject matter weighs you down outside of the studio? That is to say, do you feel as though making work that references cultural anxiety becomes entwined with how you experience your day to day life?

EK: Well, I don't want to be too dramatic here, but I do feel slightly exhausted by it from time to time. Especially in the stage of image collecting. I've spent hours and hours just rifling through troubling images--it can really take the wind out of your sails when you spend all day looking at pictures of Donald Trump, sink holes, Wal-Mart, reality television stills, police etc. It's hard to close the studio door at the end of the day and forget any of that ever happened. That kind of pathos follows me for sure.

OP: You recently graduated from Umass Amherst with a MFA in painting. Tell us a little bit about how the program has affected your work? Also, could you elaborate on how your work has evolved since leaving the academic setting?

EK: The program affected my work in the way you would hope grad school would affect your work. Pardon the cliche, but I did feel extremely challenged from time to time, took a lot of risks in what I was comfortable making, lived in the studio every day, and was able to talk at great lengths many days with my peers usually closing down the American Legion at 1 am. It made my work better, and made me a more thoughtful artist.

HOWEVER, being out of the academic setting is certainly a refreshing change. I think in a way you need to really unlearn a lot of the habits you pick up in school so you can have the confidence and fortitude to follow your (seemingly) in-explainable impulses again. I think it’s really crucial to constantly question what it is your comfortable with and living in the institution can wonderfully package your ideas with a bow if you're not careful.

OP: You are currently the artist in residence at Artspace New Haven, could you tell us about how this residency and the staff there has impacted your work?

EK: My Motivation to apply for this residency came out of a concern that I would lose the momentum I had gathered during the last three years in the Studio Arts department at Umass Amherst. In addition to being allowed the time to essentially live in the studio I was teaching classes a few days a week in tandem. I was worried that this kind of constant activity would atrophy slightly if I lost all external motivators. Similar to the experience I had leaving Montserrat after earning my BFA, there is an anxiety that's coupled with leaving the support of an institution--finishing graduate school was no different. The possibility for an art practice to fade into obscurity after re-entering the "real world" is really all too common and the need to consciously work towards, or with an institution, an audience or ideal is paramount if you want to continue making stuff with no one standing over your shoulder telling you to.

Though I've continued to build on the themes and motifs that occupied my work during graduate school, the experience has certainly been enhanced and questioned due to the inquiry of the staff at Artspace. Dialogue around the work is essential to me, the formal and casual communal tendencies of this residency has been great.

Eben Kling. Looking Far and Wide for My Vibe Tribe  Acrylic on canvas. 2015.

Eben Kling. Looking Far and Wide for My Vibe Tribe  Acrylic on canvas. 2015.

OP: How has the work you've made in the past influence the work that you create today? Do you feel like your experimentation across various media (sculpture, collage, video) has changed your relationship with painting?


EK: Absolutely. There's a few examples but i think the most relevant detail is that the paintings are structured more like a composite these days. The gathering a various physical materials to make sculptures, both found and fabricated, the collection of images and media for video and collage work--this has encouraged me to approach painting the same way. they are far more constructed in a premature state than they ever have been before. The impulse has moved to the collection of photos and material rather than "spontaneous" painting

OP: Tell us about your curatorial practice via PlayLaborPlay? How does your curatorial work influence the way you view artwork, your own and that of your peers?

The genesis of almost every show we had put together over the last two years started as a loose hypothetical conversation with my collaborator Joe Saphire. We would discuss and entertain a theme, a story,  a joke etc. and then try to recognize someone we knew personally, or the work of an artist we knew and ask that individual if they would be interested in exercising that idea in a an exciting way. At times it allowed me a certain level of emotional distance from the work. By working with other artists in a collaborative fashion and engineering the shows together--realizing a site specific experience rather than showcasing existing work made out of context. This was frequently an exciting and challenging process. It was an excuse to question intention and communication in a much more lucid way than I entertain in my personal studio practice, and in that way, refreshing.

OP: Could you tell us a little bit about some projects you have planned for the future? What is next for you?

EK: I have a project scheduled to coincide with New Havens' City Wide Open Studios in the fall. I'm planning a large wall drawing/installation in the project room at Artspace in New Haven. 

OP: Thank you very much Eben! 

For more information about Eben Kling and his work check out www.ebenkling.com. To find out more about PlayLaborPlay at www.playlaborplay.com. Commotion Potion will be on view at Occam Projects from February 19 – March 7. Be sure to join us for the closing reception this Friday, March 4, for the closing reception!

 

Announcing Commotion Potion, New Paintings by Eben Kling

Happy (belated) New Years everyone! 2016 is shaping up to be an amazing year here at Occam Projects. We are so excited to announce our first exhibition of the year, Commotion Potion, featuring new paintings by Eben Kling, in his first solo-exhibition in Providence.

The Kids Love it Acrylic on canvas. 2015

Kling’s studio practice is informed by American pop-culture. His figures, riddled with anxiety, seek refuge from media that is steeped in calamity and seemingly endless cultural disasters. Kling’s colorful and humorous paintings reference hyper-saturation of advertising in American culture--he collages found cartoons and clipart, intermingling with figures that wander compositions both intimately familiar and alien.

Borrowing from advertising media and digestible imagery, Kling incorporates and repaints this clipart, using the images as both compositional and conceptual elements. In The Kids Love It (2015) re-purposed crowds of cartoon children cheering are juxtaposed by an anxiety-riddled televised political debate. The absurdity of the stock images creates visual and conceptual tension with Kling’s more invented figures. By accessing the cartoon lexicon, Kling is able to address serious and concerning cultural issues, utilizing a vocabulary that is both immediate and accessible. His figures, distorted and obscured, humorously address both consumerism and escapism. They are crushed by their own weight as they drink, smoke, and burrow away in attempts to distance themselves from over-stimulation.

Time is Thee Enemy! 2015. Acrylic on canvas.

Time is Thee Enemy! 2015. Acrylic on canvas.

Eben Kling received his BFA from Montserrat College of Art in 2009 and his MFA from Umass Amherst in 2015. He is recipient of the 2014 St. Botolph Club grant for emerging artists. He is one half of the independent curatorial project PlayLaborPlay and is currently the artist in residence at Artspace New Haven.

Commotion Potion will be on view from Friday, February 19 - Monday, March 7 at Occam Projects at 60 Valley Street #2 Providence, RI. The opening reception will take place Friday, February 19 from 6-10pm with open hours Sunday-Tuesday 12-5pm.

For more information about Commotion Potion click here

Click here to see more of Kling's Work