Exhibitions

The Underlying of Being exhibition explores the complex relationship between the mind and body, delving into psychological effects at a cellular level. Art, science, and psychology contemplate the fundamental source of meaning and value: the human experience. The work emphasizes that our lives are not isolated but interrelated, reflecting a commonality on the most miniature biological scale. Scientific research confirms that cells can hold emotional experiences, a finding that is relevant to all humans.
The conceptual visual context derives from philosophical systems, scientific theories, and aesthetic judgments, abstracting from the ever-changing ebb and flow of being in the living world. The Underlying of Being exhibition focuses on the figure in abstracted shapes and layers of monochromatic colors, various papers, fibers, wires, glaze, and paints, producing sections of human narration sinking below the surface into an illusion or disillusioned visual physiological state of fluid within an imagined biosystems.

The purpose of this study was to evaluate trade shows, expositions, fairs and
exhibits, as a source of revenues to associations, and, as a marketing aid to
industries in the United States. A comprehensive survey examines identifiable
characteristics and relationships between exhibitors and the attendees who take
an active part in the various shows and expositions. The study clarifies some
of the misinformation and conjecture about trade shows and their future, in
addition to providing recommendations for improving the trade show industry.

Gaze to discover is the approach a viewer should take as s/he encounters the work within this exhibition. The main idea is that the work should be interactive. Developing this interaction is the objective of each piece. To engage viewers to interact with a piece of art coincides with the ability to acquire their undivided attention. The realization that it is difficult for a viewer to have a tangible interaction with artwork in a gallery setting leads to asking the viewer to interact visually, "to look fixedly" - to gaze (Webster's Dictionary). Gazing at the work will direct the viewer to discover; "to gain knowledge through observation, study, or search" (Webster's Dictionary). The desired outcome is a personal relationship with each piece observed. Games, play, and visual interaction are what this installation addresses. The familiar vessel forms chosen draw the attention, but the alliteration imagery keeps the viewer intrigued. With the help of a game card, a viewer is left with a puzzle to solve only obtainable through the gaze to discover.