MICA Photo is proud to announce that there are two alumni, Kyle Tata and Alena Volkova who were chosen as semi-finalists for this years SONDHEIM ARTSCAPE PRIZE!
The Baltimore Office of Promotion & The Arts, Inc. (BOPA) is proud to announce the ninth edition of the Janet & Walter Sondheim Prize. The prize will award a $25,000 fellowship to a visual artist or visual artist collaborators living and working in the Baltimore region. Approximately six finalists will be selected for the final review for the prize. Their work will be exhibited in the Special Exhibition Gallery at The Walters Art Museum. Additionally, an exhibition of the semi-finalists’ work will be shown in the Decker, Meyerhoff and Pinkard galleries of MICA during the Artscape weekend (July 18-20, 2014).
Kyle Tata (b. 1990) is a Baltimore based artist and recent BFA graduate from the Maryland Institute College of Art. His work addresses history, urbanism, and architecture through photography, artist books, and other printed matter. Tata has also written for numerous art blogs including Humble Arts Foundation in New York. His work has been featured at galleries and institutions such as the Baltimore Museum of Art, Maryland Art Place, The Light Gallery (MD), the George Segal Gallery at Mont Clair University, The D-Center (MD), Petrella’s Imports (NYC) and a forthcoming exhibition at the International Print Center of New York. Tata is currently on the faculty at Baltimore School for the Arts.
When you gaze into the sky, are you aware that you are gazing into emptiness? Do you see the sky as a barrier between you and infinity? If you perceive something as being empty, is it because you understand the concept of fullness, or is it because of fullness you perceive emptiness?
My artistic curiosity lie in the interchange between nothing and something, and its manifestation in everyday reality. While focused on natural elements, I am interested in the threshold between the two, their connotative values, and the ways in which they inform and question each other.
For the premise of my work, I focus on forms easily recognizable and universally understood: water, sky, land, forms that are part of our everyday poetry, sublime or mundane. Creating photographs of these subjects, my goal is to explore how much visual information is needed to perceive the essence of the subject against the background of nothing, a void. I am interested in the ways in which this essence serves as a framework for nothingness, as well as the ways it manifests itself against the canvas of nothing.
My exploration of nothingness is informed by Eastern philosophy, in which the notion ofnothing is understood as the beginning and the potential. This I believe varies significantly from the Western existential notion of nothing as doom or death. According to the Taoist principles of Chinese painting, space is not a measurable quantity, but rather a means for suggesting the immeasurable vastness. Similarly, in most of my photographic work, the subject matter is gradually obliterated into large areas of a white void, suggesting unknown vastness and unrealized possibilities. Presenting the viewer with subtle indications of an image on a mostly white piece of photo paper, my goal is to bring forth the dialogue between the infinite qualities of the landscape and the limitations of the photographic process. In addition, I wish to question the viewer’s perception of the boundaries – the edges of the piece of paper and the edges of the image – determined by camera framing.