Artists in Residence
Carmichael Jones is an artist whose work is often playful and slightly irreverent, blending the everyday and the never-seen-before, the meticulous and the reckless, the handcrafted and the ready made.
Carmichael is a proud graduate of Tyler School of Art and SalemCC as well as the creative co-director of “The Whole Shebang”.
Currently a BFA artist in residence at Tyler School of Art and a 2015 CGCA fellow, Carmichael has shown work at Vox Populi, The Hatchatory, Little Berlin and Flux Space among others.
moving parts is a project of Meg Foley’s and is the name she ascribes to her various dance- and performance-based actions that explore the materiality of dance and its relationship to form. To that end, she has recently recommitted to an improvisational solo practice that explores states of attention, sensation guided structure, and audience/performer relationship and interdependence. She loves to watch, reflect on, and talk about performance. Focused on exchange and research through making, part of moving parts' mission is to host visiting artists.
Meg Foley is a Philadelphia-based performer and choreographer. Her work has been presented locally by Thirdbird, FringeArts Festival, Bowerbird, Vox Populi gallery, Little Berlin Gallery, Icebox Project Space, and outside Philadelphia in NYC, Canada, and Poland. An improviser and a queer person, Foley is interested in the embodied potential for a more pliable sense of self and of relationship. Her dances explore the 24hr body, tracking our identities and emotional experiences to a physical core, placing the experiential act at the center. Working from physical actualities and body‐based research, since 2010 she has developed an improvisational practice, action is primary, where all aspects of the body become material: movement, voice, location, emotion, relationship, attention, herstory, and representation. This research informs tiny daily dances (she has performed a dance everyday at 3:15pm since October 20, 2012) as well as an exhibition of the research in Spring 2016, that will feature self-determined, improvisational solos created collectively by the collaborating performers. Foley is a 2012 Pew Fellow in the Arts and 2012 Independence Foundation Fellow and the first dance artist to be a member of Vox Populi Gallery. She teaches dance improvisation, composition, performance practice, and critical theory at University of the Arts. Foley received a BA in Dance from Scripps College in California in 2004 and a Professional Diploma in Dance Studies from Laban Centre London in 2003. www.movingpartsdance.org
Amber Cowan | Artist and Educator
Amber Cowan is an artist and educator out of Philadelphia, Pennsylvania where she is a faculty member of the Glass Department of Tyler School of Art at Temple University.
She is the recipient of the 2014 Rakow Commission from The Corning Museum of Glass and the 2012 Recipient of the Stephen Procter Fellowship at The Australian National University.
She has taught courses at The Studio of the Corning Museum of Glass, The Pilchuck Glass School as well as Salem Community College.
Amber has had a recent solo exhibition at The Museum of Craft and Design in San Francisco and her work is in the permanent collection of The Shanghai Museum of Glass and The Wichita Art Museum.
It is in our nature, as sentient beings, to continually search for what we lack physically and mentally. In western cultures, perfection is the ultimate form of satisfaction. We strive for better lives, continually pursuing a sense of completeness, fearing we will not achieve it before our time runs short. However, without ever being achieved, we view many of our experiences as unfulfilled. This flawed ideology, originating from Greco-Roman ideals of beauty through perfection, can create in us insurmountable stress and worry.
In contrast to an anxious existence, I find comfort in the Japanese concept of wabi-sabi, which accepts flaws and deficiencies in all things as unique and adequate. Rather than having the expectation that everything in life should be perfect, there is an acceptance of what is, and a way to move forward peacefully in that understanding. Our state of being is constantly in flux, so how can we have an expectation of perfection? Relationships change, people die, and mountains turn to sand. It is in transference of energies that we mourn. Life is a constant and death is a change in the continuum. This is what makes life so precious. It is ultimate; it is in comparison to all things, absolutely serious. Everything we do makes a difference. Everything is important.
In my work, I explore the dichotomy between these two philosophies in relation to my personal experiences with loss, abandonment, mortality, and expectation.