APRIL 14, 2012

Opening ReceptionIMMATERIAL ERGONOMICS April 14, 2012 6 to 10 pm

Immaterial Ergonomics brings together four artists from both coasts who share an affinity for material transcendence. Their innovative, contemporary work represents a range of hybrid practices: sculpted canvases, painted videos, printed sculptures and digital processes, which turn traditional mediums on their head. The four artists share a goal: to head toward representational objects, only to sidestep the familiar at the last moment. And drift past.

The work of Brice Bischoff, Ryan Perez, Matt Sheridan, and Maria Walker will be celebrated with an incredible reception that includes high-caliber music performance art by UC San Diego art teacher Michael Trigilio, and a one-night-only installation by San Diego artist Anna Chiaretta Lavatelli.

Inside: Brice Bischoff is a Los Angeles-based artist who transforms photographs of natural settings into the surreal with experimental techniques. He received his MFA from the San Francisco Art Institute in 2007. His work has appeared in exhibitions in New Orleans, Los Angeles, San Francisco, Washington D.C., St. Louis, Tokyo, and Warsaw. In 2007, he was a member of the art collective, Self Made, who ventured on a 22-city art tour across the United States and Canada. His work is in the collections of the Ogden Museum of Southern Art and the New Orleans Museum of Art and has been featured in the textbook Pinhole Photography, Fourth Edition.

Ryan Perez, who was born in Oceanside but now lives in Los Angeles, received his BFA from Pasadena’s Art Center College of Design in 2008 and is currently an MFA candidate for the spring of 2012 at University of California, Riverside. He uses materials and techniques common to both commercial and art production. His sculptures and photographs attempts to speak towards how seduction and desire is located in both the mass produced and the art object. Acknowledging an affinity with the commercial, while slightly diverging from it, his work flirts with ideas dealing with the surface of high modernism and suggests hints of how the individual deals with mass industry/culture.

Matt Sheridan of Los Angeles works in animation, video installation, short film, painting and collage. His work focuses on the power relations between bodies and information. He received his MFA from Art Center College of Design. While working for MTV, Nickelodeon and the NBA, he also taught animation at New York University's Tisch School of the Arts, the School of Visual Arts and Pratt Institute.  He has shown in the USA, UK, Brazil, Iran and India, the Netherlands and France. Matt Sheridan’s portion of Immaterial Ergonomics was made possible in part by an ARC grant from the Center for Cultural Innovation.

Maria Walker lives and works in Brooklyn, New York. She builds complex stretchers that involve irregular pieces of wood poking out against the canvas. The canvas forms topography of peaks and valleys that the artist responds to with acrylic paint. The stretcher dictates the flow of water and acrylic paint across the surface to create the image; She received an MFA in 2006 from the Tyler School of Art, Temple University, in Elkins Park, Pa.

Onstage: Michael Trigilio (starvelab) is a multimedia artist, filmmaker, and co-founder of the long-running experimental Neighborhood Public Radio project. The starvelab music he will perform at Space 4 Art has been described as a rocket ship celebration across a thousand hallucinatory emotional landscapes. He recently showed work from his Speculative Religious Electronics project at Disclosed unLocation in South Park, San Diego, and was part of the Wireless exhibition at the Santa Barbara Contemporary Arts Forum in November, 2011. He teaches courses in Media and Sound at University of California, San Diego. Some sounds and information are available at starvelab.com.

Outside (in the cubes): Anna Chiaretta Lavatelli’s “My Pink Room” is an installation that will be up for one night only. Lavatelli works in installation, performance, and video to examine femininity and expectations in cinema— how moving image has fragmented realities and female identity. The Pink Room is a stage for the construction of an identity, just as girls fill their room with objects to dictate who they are with these accouterments of gender.