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<channel>
	<title>Fresh As Fruit</title>
	<link>https://freshasfruit.cargo.site</link>
	<description>Fresh As Fruit</description>
	<pubDate>Sat, 29 Jan 2022 04:54:55 +0000</pubDate>
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		<title>Fresh As Fruit - Archive</title>
				
		<link>https://freshasfruit.cargo.site/Fresh-As-Fruit-Archive</link>

		<pubDate>Sat, 17 Oct 2020 16:15:40 +0000</pubDate>

		<dc:creator>Fresh As Fruit</dc:creator>

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		<description>fresh as fruit - exhibition archive
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		<title>Teeter-Tooter</title>
				
		<link>https://freshasfruit.cargo.site/Teeter-Tooter</link>

		<pubDate>Sat, 17 Oct 2020 16:15:41 +0000</pubDate>

		<dc:creator>Fresh As Fruit</dc:creator>

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		<description>

	

Teeter-Totter
Elizabeth Odiorne &#38;amp;&#38;nbsp;HM Thompson

HM Thompson statement:&#38;nbsp;
Considering the boundaries, borders, and binaries of categorized identities, of the body, of societal constructs and the impossible expectations that they bear, my work speaks to the multifaceted and ﬂuid nature of identity, with emphasis on gender performance. Few things in nature are ﬁxed or permanent; I am interested in the margins, the fringe, and the 
non-normative— the ways in which we identify ourselves that are messy, ﬂuctuating, layered, and do not ﬁt neatly into any pre-determined criteria.
Expanding on themes of childhood, queer theory, post-structuralism, phenomenology, “subversive sweetness,” and abstraction, my work can be regarded as both sculpture and installation. I focus on bodily relationships between form and viewer, pushing this notion further through abstracted and platonic forms. I do this to provide the viewer with a particular ground, albeit unstable.
I consider this kind of work to be both distopic and utopic—playful and critical. Through a phenomenological approach, this work speaks to the strangeness of familiarity by referencing objects that appear to have a location in our collective memory or experience but do not exist as “real” or representational forms.
Color and texture operate in this work as an entry point, allowing those who might be unfamiliar with the aforementioned themes to experience the space and all of its potential without feeling alienated or excluded. My background in graphic design, photography, and drawing informs the way that I treat my sculptural surfaces, which are often subtle but unapologetic. 
Because I am interested in how we understand gender through language, my work utilizes the double meanings and sometimes meaninglessness of words. I use both smooth and constrained gradations to exploit boundaries while candy coating the work in saturated color and texture to leave the viewer feeling that they might already understand my propositions. Additionally, using a language of symbols, I provide otherwise abstract concepts with literal dimensionality. It is the “subversively sweet” quality of the work that allows me to explore queer theory, philosophy, and language in a way that is simultaneously tongue-in-cheek and demanding.
Elizabeth Odiorne statement:&#38;nbsp;We are surrounded by visually intriguing, recurring designs in nature, ranging from simple to intricate. My screen-printed textiles focus on exemplifying and magnifying the complexity of repeated forms. I am passionate about the time-honored tradition of screen-printing textiles, taking great pride in executing all aspects of the process by hand.  I want the viewer to absorb and be engrossed in the original drawings, overlapping shapes and complex compositions. My patterns and motifs reﬂect the signiﬁcance of personal achievements and monumental life moments. Through the process of repetition, I wish to instill an overpowering visual sensation when viewing my work – a menagerie of brilliant, saturation of color, layers of delicate linear patterns, embedded with a unique record of personal anecdotes.


	

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	<item>
		<title>The Best Fonda and Other Collages</title>
				
		<link>https://freshasfruit.cargo.site/The-Best-Fonda-and-Other-Collages</link>

		<pubDate>Sat, 17 Oct 2020 17:22:31 +0000</pubDate>

		<dc:creator>Fresh As Fruit</dc:creator>

		<guid isPermaLink="true">https://freshasfruit.cargo.site/The-Best-Fonda-and-Other-Collages</guid>

		<description>

	

The Best Fonda and other Collages
Chad Serhal&#38;nbsp;
My work deals with the reappropriation of movies, ads, and comic books through a filter I call Scüzz, which incorporates paint and a reckless use of the material.&#38;nbsp; Using layers of mediums of the visual language that is part of our daily lives, I am able to signify multiple meanings and suggestions using a visual code.&#38;nbsp; I take hold of identifiable images, like scenes from old films or comics, and make them my own, using techniques found in cartooning, graffiti tagging, satire, movie posters, Dada, Surrealism, and various forms of photo collage.&#38;nbsp; My collages consist of paint and paper on wood, are usually no bigger than a few inches, and are unusual shapes.&#38;nbsp; They are made of low and often recycled material.&#38;nbsp; They are for the common audience to think about, and not just the art world.

My art is an expression of how I feel, it is reflective of my influences, and it continues to challenge my creative impulses pushing the compositions further.&#38;nbsp; The work as a whole is process oriented, uses layers in its construction, and is referential of other works of art, including my own interdisciplinary art. 

Scüzz is a redirecting of cinema, is taking ownership of advertising, and is a retelling of sequential art as scenes are altered and icons are defaced.&#38;nbsp; Scüzz processes an untouchable high art into a low brow domestic object.&#38;nbsp; Scüzz is lucid dreaming.&#38;nbsp; Scüzz is art referencing itself.&#38;nbsp; Scüzz is “tag you’re it”.&#38;nbsp; Scüzz is your mother’s refrigerator.&#38;nbsp; Scüzz is a pig in the sun.&#38;nbsp; Scüzz is 12 monkeys on a steep jetee.&#38;nbsp; Scüzz is a breathless Jim McBride.&#38;nbsp; Scüzz brings us back to the future.&#38;nbsp; Scüzz is why we can’t have nice things. www.chadserhal.com &#38;nbsp;

	




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</description>
		
	</item>
		
		
	<item>
		<title>Always Already Lost</title>
				
		<link>https://freshasfruit.cargo.site/Always-Already-Lost</link>

		<pubDate>Sat, 17 Oct 2020 16:15:41 +0000</pubDate>

		<dc:creator>Fresh As Fruit</dc:creator>

		<guid isPermaLink="true">https://freshasfruit.cargo.site/Always-Already-Lost</guid>

		<description>

	Always Already Lost
Marina Sachs

Marina Sachs (@marina2mp3) is a multimedia artist and educator currently living in Gainesville, FL. Their work includes the practice of 35mm photography, site-specific installations, and time-specific durational performances. 
Leveraging a female gaze perspective, their research and studio practice primarily examines desire (specifically through addiction and commodified femme bodies) as played out in private and public spaces in contemporary capitalism. Their work aims to produce “future” images, collaborative alternatives, and transformative antidotes to the realities of the American dreamscape. More about Marina, their work, and commissions at www.marinasachs.com.
	

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&#60;img width="2550" height="3300" width_o="2550" height_o="3300" data-src="https://freight.cargo.site/t/original/i/29fe5a8125304042fcfc34b0b620bbb8e379d2ab77128f8d2d494a3ecd093901/Always-Already-Lost2.jpg" data-mid="88652270" border="0"  src="https://freight.cargo.site/w/1000/i/29fe5a8125304042fcfc34b0b620bbb8e379d2ab77128f8d2d494a3ecd093901/Always-Already-Lost2.jpg" /&#62;


IT BURNS AND I CAN’T STOP (2019-2020) Recycled Material, Spray Foam 
This Flamin’ Hot sculpture pushes beyond corner-store snack, and looks at how hold weight in conversations about food insecurity, artificially-generated addictions, and privilege. The sculptures' super-size uncanniness opens up a humorous and playful space to imagine ‘what if’ and ‘would I’ about these cheetos. Would you try a cheeto this big? 

BL_NK ME (2020) Photographic Print, Spray Foam 
BL_NK ME explores representations of the female body refusing to be confined to pornographic or explicit private-publics. What do words mean when inscribed over someone’s body? Sprung from everyday experiences of being a woman, these images play on the tension between sexuality, agency, and control of their own images? 

“I WISH I HAD SOMETHING PROFOUND TO SAY” (2020) Spray Foam</description>
		
	</item>
		
		
	<item>
		<title>Language of Space</title>
				
		<link>https://freshasfruit.cargo.site/Language-of-Space</link>

		<pubDate>Sat, 17 Oct 2020 18:21:38 +0000</pubDate>

		<dc:creator>Fresh As Fruit</dc:creator>

		<guid isPermaLink="true">https://freshasfruit.cargo.site/Language-of-Space</guid>

		<description>
Language of Space
Emmanuel Opoku
Opoku collects and transforms found objects to reflect social roles &#38;nbsp;and elicit feelings of nostalgia. Found objects re-purposed to navigate his logic understanding of value, space and history. His artwork invites viewers to read their own meanings into familiar objects that have been transformed.&#38;nbsp; Opoku’s work explores his comparison of experiences between the US and Ghana with the use of the material collected from thrifts stores and contextualized into various meanings of culture, status  and politics of art.  He employs the concept of juxtaposition with non-related objects in a way to search for his identity use ambiguity to investigate the expectations of the mainstream art. Emmanuel Manu Opoku was born in Kumasi, Ghana. He attended Kwame Nkrumah University of Science and Technology and majored in BFA Painting. His first solo exhibition the risen compass occurred in early 2019 at 4most Gallery and the second solo exhibition at the Constance and Linton Gallery of International Art in the same year. He has  participated in several group exhibitions in Ghana and US. He is currently pursuing his MFA in Sculpture at the University of Florida.
opokuarts.com



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&#60;img width="2856" height="1828" width_o="2856" height_o="1828" data-src="https://freight.cargo.site/t/original/i/8941c58c9b380f78c3b03057633172b40f30dab5a46edabbb49ec9a42e6e927f/IMG_20200918_201131.jpg" data-mid="88660654" border="0"  src="https://freight.cargo.site/w/1000/i/8941c58c9b380f78c3b03057633172b40f30dab5a46edabbb49ec9a42e6e927f/IMG_20200918_201131.jpg" /&#62;
&#60;img width="2806" height="1857" width_o="2806" height_o="1857" data-src="https://freight.cargo.site/t/original/i/36ff1d87b4408a5d6dc8b67caa725c3cb2cdfa12f59996634b68ec52bdf7a391/IMG_20200918_202736.jpg" data-mid="88660656" border="0"  src="https://freight.cargo.site/w/1000/i/36ff1d87b4408a5d6dc8b67caa725c3cb2cdfa12f59996634b68ec52bdf7a391/IMG_20200918_202736.jpg" /&#62;
&#60;img width="2551" height="3300" width_o="2551" height_o="3300" data-src="https://freight.cargo.site/t/original/i/2d5ee319ddd12d24e39aa1fc5a741beedef3f36d2c5821a074fc50f28cbe4650/Language_of_space_pricelist-02.png" data-mid="88662818" border="0"  src="https://freight.cargo.site/w/1000/i/2d5ee319ddd12d24e39aa1fc5a741beedef3f36d2c5821a074fc50f28cbe4650/Language_of_space_pricelist-02.png" /&#62;

	1. Beautiful (Ahuofedua), 2019, 85 X 65”2. Untitled, 2020, 23 x 13”

3.&#38;nbsp;Self-Portait, 2020, 41 X 22 X 10”4. Untitled, 2020,&#38;nbsp; 30 x 48”

5.&#38;nbsp;One In My Mouth, 2019, 79 x 34 inches

6.&#38;nbsp;Untitled, 2020,&#38;nbsp; 30 x 48” 

 
	
</description>
		
	</item>
		
		
	<item>
		<title>A Kind of a Stopwatch</title>
				
		<link>https://freshasfruit.cargo.site/A-Kind-of-a-Stopwatch</link>

		<pubDate>Sun, 18 Oct 2020 12:44:18 +0000</pubDate>

		<dc:creator>Fresh As Fruit</dc:creator>

		<guid isPermaLink="true">https://freshasfruit.cargo.site/A-Kind-of-a-Stopwatch</guid>

		<description>
	


A Kind of a Stopwatch
Ana Carolina
Meza Mendoza



I make minimalist structures that
reflect my experience as an immigrant. I get inspired by architecture, ladders,
corridors, and crosswalks. I am fascinated by these structures and their
universal capacity to reflect power and rules. I challenge the idea that power
means a stable system. I create weak structures through materials
explorations. &#38;nbsp; 



My artwork also talks about the
state of in-between. I am originally from Colombia, and I came to the US when I
was 18. As an immigrant, I feel misplaced in this Country, but I feel like I
don’t belong there anymore when I go back to my birth town. My artwork uses
transparency to reflect this in-between space. As an immigrant, the feeling of
displacement is constant. I use the visual language of architecture and transparency
to show the feeling of being out of place. 







	

&#60;img width="1500" height="2000" width_o="1500" height_o="2000" data-src="https://freight.cargo.site/t/original/i/a468868f3caf55743434d84ecce0342a767a0f4d986433276244b4fa66c8be6a/DSCF8438.jpg" data-mid="88542114" border="0"  src="https://freight.cargo.site/w/1000/i/a468868f3caf55743434d84ecce0342a767a0f4d986433276244b4fa66c8be6a/DSCF8438.jpg" /&#62;
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&#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/563200b006df86b2f64fca24d9e06e0ec9b383b3575980d7b9b1448d70847e98/DSCF8446.jpg" data-mid="88542117" border="0"  src="https://freight.cargo.site/w/1000/i/563200b006df86b2f64fca24d9e06e0ec9b383b3575980d7b9b1448d70847e98/DSCF8446.jpg" /&#62;
&#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/bc5bdc3bf5033e910f09275e7a158c9980041183eed40eee7a4922067f5a278d/DSCF8437.jpg" data-mid="88542109" border="0"  src="https://freight.cargo.site/w/1000/i/bc5bdc3bf5033e910f09275e7a158c9980041183eed40eee7a4922067f5a278d/DSCF8437.jpg" /&#62;
&#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/3df5df709e2b1127df0ca329c229294ce52fbaebd1e7ee7ba89d5f4b542e6e09/DSCF8431.jpg" data-mid="88542108" border="0"  src="https://freight.cargo.site/w/1000/i/3df5df709e2b1127df0ca329c229294ce52fbaebd1e7ee7ba89d5f4b542e6e09/DSCF8431.jpg" /&#62;
&#60;img width="1500" height="2000" width_o="1500" height_o="2000" data-src="https://freight.cargo.site/t/original/i/fd8921fe8531fc51e6fff2c37532d20b05d4e598d59ba3f649b3c3a3e58a8953/DSCF8458.jpg" data-mid="88542121" border="0"  src="https://freight.cargo.site/w/1000/i/fd8921fe8531fc51e6fff2c37532d20b05d4e598d59ba3f649b3c3a3e58a8953/DSCF8458.jpg" /&#62;
&#60;img width="1500" height="2000" width_o="1500" height_o="2000" data-src="https://freight.cargo.site/t/original/i/ebc8140e566a4b6c4790dc4a674e5d8ae2efed4d5fb0cda002ed4773f78a04a1/DSCF8453.jpg" data-mid="88542118" border="0"  src="https://freight.cargo.site/w/1000/i/ebc8140e566a4b6c4790dc4a674e5d8ae2efed4d5fb0cda002ed4773f78a04a1/DSCF8453.jpg" /&#62;
&#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/d30cebf4b9e45c4c7a7f1267b376f15251a4e6e8071dd153c839088571f3bd1e/DSCF8419.jpg" data-mid="88542105" border="0"  src="https://freight.cargo.site/w/1000/i/d30cebf4b9e45c4c7a7f1267b376f15251a4e6e8071dd153c839088571f3bd1e/DSCF8419.jpg" /&#62;

	Photos by Matthew Roberts
	
</description>
		
	</item>
		
		
	<item>
		<title>Smiling Left, Right, and All Over</title>
				
		<link>https://freshasfruit.cargo.site/Smiling-Left-Right-and-All-Over</link>

		<pubDate>Sat, 06 Feb 2021 05:00:32 +0000</pubDate>

		<dc:creator>Fresh As Fruit</dc:creator>

		<guid isPermaLink="true">https://freshasfruit.cargo.site/Smiling-Left-Right-and-All-Over</guid>

		<description>
	


Smiling Left, Right, and All Over
Eric Anthony Berdis



Derived from childhood
fantasies Eric Anthony Berdis’ work explores the metamorphosis of a becoming.
Set among plush objects and phallic faux-fur sculptures, Berdis transforms into
a nonviolent homophobia fighting superhero. Their performance seeks to simulate
the jarring experience of being stereotyped while simultaneously examining the
ways we navigate towards and create safe spaces. Loud sequined materials are
reassembled as uniforms for a dystopic queer world. Each object holds a
peculiar function, none of which are to clothe the body or to cover uncomfortable
truths. With unrelenting confrontation with the audience, they make the viewer
a mirror, and forces one to reckon with their own reactions to what has been
crafted as both a worst nightmare and best fantasy.
Originally from Erie, Pennsylvania, they received their BFA from Slippery Rock
University in 2013. In 2016, they were awarded the opportunity to study at
Tyler School of Art in the Fibers &#38;amp; Material Studies Department, this
opportunity changes the trajectory of his marking and career and he is grateful
for that. Eric has gone on to receiving his MFA from Virginia Commonwealth
University.



Eric
has had solo exhibitions at Random Access Gallery, in Syracuse, New
York, Practice Gallery Philadelphia, Bunker Projects, Pittsburgh and Project
1612 in Peoria, Illinois, and most recently the University
Galleries at Illinois State University.
See more of Eric’s work at&#38;nbsp;https://ericanthonyberdis.com/







	

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&#60;img width="2268" height="4032" width_o="2268" height_o="4032" data-src="https://freight.cargo.site/t/original/i/91db487b07e30a1939f53800057fdaeedeea861273a3766f2d53eeafaf9d9999/PXL_20210129_235059106.PORTRAIT.jpg" data-mid="97963277" border="0"  src="https://freight.cargo.site/w/1000/i/91db487b07e30a1939f53800057fdaeedeea861273a3766f2d53eeafaf9d9999/PXL_20210129_235059106.PORTRAIT.jpg" /&#62;
&#60;img width="4032" height="2268" width_o="4032" height_o="2268" data-src="https://freight.cargo.site/t/original/i/820d3a36f681eddef961a1f71499ddc0dfacc65f7b9c72393e2ed5deed4ded3b/PXL_20210130_003535360.jpg" data-mid="97963278" border="0"  src="https://freight.cargo.site/w/1000/i/820d3a36f681eddef961a1f71499ddc0dfacc65f7b9c72393e2ed5deed4ded3b/PXL_20210130_003535360.jpg" /&#62;
&#60;img width="2500" height="1875" width_o="2500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/1a49b78fc3a64209cd707082fa561313cac40228f77ba31a13630ea74728bbae/DSCF8754.jpg" data-mid="97963031" border="0"  src="https://freight.cargo.site/w/1000/i/1a49b78fc3a64209cd707082fa561313cac40228f77ba31a13630ea74728bbae/DSCF8754.jpg" /&#62;
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&#60;img width="2500" height="1875" width_o="2500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/a5a63953309cf448342289d64c48d7ffa9a4dda001f67d39e2290094400ba42c/DSCF8752.jpg" data-mid="97963030" border="0"  src="https://freight.cargo.site/w/1000/i/a5a63953309cf448342289d64c48d7ffa9a4dda001f67d39e2290094400ba42c/DSCF8752.jpg" /&#62;
&#60;img width="2500" height="1875" width_o="2500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/e1d464eb671bcf361cb5bbb3102c970ce2b7aabfea87c29191f17e0b255603e1/DSCF8750.jpg" data-mid="97963029" border="0"  src="https://freight.cargo.site/w/1000/i/e1d464eb671bcf361cb5bbb3102c970ce2b7aabfea87c29191f17e0b255603e1/DSCF8750.jpg" /&#62;
&#60;img width="2500" height="1875" width_o="2500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/831d029ee9b917afea9c1261cfb77e9eb5dac457ecbaafa7c204fdbcd79b9357/DSCF8745.jpg" data-mid="97963026" border="0"  src="https://freight.cargo.site/w/1000/i/831d029ee9b917afea9c1261cfb77e9eb5dac457ecbaafa7c204fdbcd79b9357/DSCF8745.jpg" /&#62;
&#60;img width="2500" height="1875" width_o="2500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/3a3daf09a04eb7668f902145e8413aea1a6f16ce6a8fa1ea0c5971c523018e24/DSCF8746.jpg" data-mid="97963027" border="0"  src="https://freight.cargo.site/w/1000/i/3a3daf09a04eb7668f902145e8413aea1a6f16ce6a8fa1ea0c5971c523018e24/DSCF8746.jpg" /&#62;
&#60;img width="2500" height="1875" width_o="2500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/d85b42f47c8a127603df0c3ea226dd5a4a843f7750774d9dd29d31162b2af106/DSCF8739.jpg" data-mid="97963022" border="0"  src="https://freight.cargo.site/w/1000/i/d85b42f47c8a127603df0c3ea226dd5a4a843f7750774d9dd29d31162b2af106/DSCF8739.jpg" /&#62;
&#60;img width="2500" height="1875" width_o="2500" height_o="1875" data-src="https://freight.cargo.site/t/original/i/336c4ce70c34aa0a5abaf9045cbc3862cf4eaf0ec521d852ec6fe7eb12a68406/DSCF8730.jpg" data-mid="97963014" border="0"  src="https://freight.cargo.site/w/1000/i/336c4ce70c34aa0a5abaf9045cbc3862cf4eaf0ec521d852ec6fe7eb12a68406/DSCF8730.jpg" /&#62;
&#60;img width="1962" height="2119" width_o="1962" height_o="2119" data-src="https://freight.cargo.site/t/original/i/eddac2073263af4e71af3ea3938c94e9b14c8b2b1704bf206718d77630af1ec7/IMG_8930.jpg" data-mid="97963548" border="0"  src="https://freight.cargo.site/w/1000/i/eddac2073263af4e71af3ea3938c94e9b14c8b2b1704bf206718d77630af1ec7/IMG_8930.jpg" /&#62;
&#60;img width="1692" height="2438" width_o="1692" height_o="2438" data-src="https://freight.cargo.site/t/original/i/c0820188051c51cec1d0139d75cb47315f93370d2a1912cd3064d4eda852c44f/IMG_8926.jpg" data-mid="97963639" border="0"  src="https://freight.cargo.site/w/1000/i/c0820188051c51cec1d0139d75cb47315f93370d2a1912cd3064d4eda852c44f/IMG_8926.jpg" /&#62;
&#60;img width="4032" height="2268" width_o="4032" height_o="2268" data-src="https://freight.cargo.site/t/original/i/c343e2397ea0eb470087a258e047b81a150fa0b8fa0d495c785327220a0d4293/PXL_20210130_004859616.jpg" data-mid="97963279" border="0"  src="https://freight.cargo.site/w/1000/i/c343e2397ea0eb470087a258e047b81a150fa0b8fa0d495c785327220a0d4293/PXL_20210130_004859616.jpg" /&#62;

	Photos by Matthew Roberts (3-10)
	
</description>
		
	</item>
		
		
	<item>
		<title>Yours, Mine, Ours</title>
				
		<link>https://freshasfruit.cargo.site/Yours-Mine-Ours</link>

		<pubDate>Sun, 21 Feb 2021 17:08:32 +0000</pubDate>

		<dc:creator>Fresh As Fruit</dc:creator>

		<guid isPermaLink="true">https://freshasfruit.cargo.site/Yours-Mine-Ours</guid>

		<description>
	


Yours, Mine, Ours
Monika Meler



















The
Anthropocene series postulates that humans can only love that which they touch,
build, or are responsible for making.&#38;nbsp; There is clearly a contradiction
between what is valuable and what humans value and this contradiction is what
defines the Anthropocene, the geological term for the age of humans, or more
specifically the impact the humans have had on the earth especially through
global warming, industrialization, and colonization. 



My
current body of work attempts to explore this contradiction. Through the
incorporation of shapes that resemble rocks, pieces of earth, or natural forms
and images that were made from domestic objects intended to imitate nature, I
am exploring the root of the problem of “value,” in its many manifestations and
forms.&#38;nbsp; I am interested in examining how we value the objects in our homes
that are meant to mimic or celebrate nature while actual natural environments
are left to perish. 








See more of Monica’s work at monikameler.viewbook.com/







	

&#60;img width="2550" height="3300" width_o="2550" height_o="3300" data-src="https://freight.cargo.site/t/original/i/8a5d46e9db4cd2cdd11e9e04b0943a2a7a0fbbdd566c7a20c2278fadb04b5698/Monika_Meler-inverted.jpg" data-mid="99641922" border="0"  src="https://freight.cargo.site/w/1000/i/8a5d46e9db4cd2cdd11e9e04b0943a2a7a0fbbdd566c7a20c2278fadb04b5698/Monika_Meler-inverted.jpg" /&#62;
&#60;img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/a231b27bb9443be5b35cb411430f1ec28af3e4d8a513d05c538137c6cc01fed2/DSCF8804.jpg" data-mid="99636492" border="0"  src="https://freight.cargo.site/w/1000/i/a231b27bb9443be5b35cb411430f1ec28af3e4d8a513d05c538137c6cc01fed2/DSCF8804.jpg" /&#62;
&#60;img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/b931e7a9fc08c4d22286a8fc508e3a34782f5f84ed0a21f7a518edf0d1cb9c68/DSCF8800.jpg" data-mid="99636621" border="0"  src="https://freight.cargo.site/w/1000/i/b931e7a9fc08c4d22286a8fc508e3a34782f5f84ed0a21f7a518edf0d1cb9c68/DSCF8800.jpg" /&#62;
&#60;img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/72230949628ad9d295cf39db5a0ab576c434be8e1dcaa28a6c09b230c0081816/DSCF8806.jpg" data-mid="99636622" border="0"  src="https://freight.cargo.site/w/1000/i/72230949628ad9d295cf39db5a0ab576c434be8e1dcaa28a6c09b230c0081816/DSCF8806.jpg" /&#62;
&#60;img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/dad3fe7d6251cd77c6c328cd1d776fc1d9ca0414e66d3189cd06f68e454bc44e/DSCF8779.jpg" data-mid="99636533" border="0"  src="https://freight.cargo.site/w/1000/i/dad3fe7d6251cd77c6c328cd1d776fc1d9ca0414e66d3189cd06f68e454bc44e/DSCF8779.jpg" /&#62;
&#60;img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/ce0af51d42c1b33b8b285e305ce75007a8e1a8b17e1e9aa6de330bd8a23a8c08/DSCF8794.jpg" data-mid="99636523" border="0"  src="https://freight.cargo.site/w/1000/i/ce0af51d42c1b33b8b285e305ce75007a8e1a8b17e1e9aa6de330bd8a23a8c08/DSCF8794.jpg" /&#62;
&#60;img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/a367fa2aa3fc720f4be75feeca62acfe4b7fdcc9edf4a4dfbac17033020deca1/DSCF8764.jpg" data-mid="99636651" border="0"  src="https://freight.cargo.site/w/1000/i/a367fa2aa3fc720f4be75feeca62acfe4b7fdcc9edf4a4dfbac17033020deca1/DSCF8764.jpg" /&#62;
&#60;img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/6e7c995eb279ae9d1c93d4d274054f9764b76afe5874ec5ec7bacabe97f95f65/DSCF8785.jpg" data-mid="99641788" border="0"  src="https://freight.cargo.site/w/1000/i/6e7c995eb279ae9d1c93d4d274054f9764b76afe5874ec5ec7bacabe97f95f65/DSCF8785.jpg" /&#62;

	Photos by Matthew Roberts
	
</description>
		
	</item>
		
		
	<item>
		<title>Tear Down the Veil of Dark Matter and Make Something to Wear</title>
				
		<link>https://freshasfruit.cargo.site/Tear-Down-the-Veil-of-Dark-Matter-and-Make-Something-to-Wear</link>

		<pubDate>Sat, 29 Jan 2022 04:54:55 +0000</pubDate>

		<dc:creator>Fresh As Fruit</dc:creator>

		<guid isPermaLink="true">https://freshasfruit.cargo.site/Tear-Down-the-Veil-of-Dark-Matter-and-Make-Something-to-Wear</guid>

		<description>
	


Yours, Mine, Ours
Monika Meler



















The
Anthropocene series postulates that humans can only love that which they touch,
build, or are responsible for making.&#38;nbsp; There is clearly a contradiction
between what is valuable and what humans value and this contradiction is what
defines the Anthropocene, the geological term for the age of humans, or more
specifically the impact the humans have had on the earth especially through
global warming, industrialization, and colonization. 



My
current body of work attempts to explore this contradiction. Through the
incorporation of shapes that resemble rocks, pieces of earth, or natural forms
and images that were made from domestic objects intended to imitate nature, I
am exploring the root of the problem of “value,” in its many manifestations and
forms.&#38;nbsp; I am interested in examining how we value the objects in our homes
that are meant to mimic or celebrate nature while actual natural environments
are left to perish. 








See more of Monica’s work at monikameler.viewbook.com/







	

&#60;img width="2550" height="3300" width_o="2550" height_o="3300" data-src="https://freight.cargo.site/t/original/i/8a5d46e9db4cd2cdd11e9e04b0943a2a7a0fbbdd566c7a20c2278fadb04b5698/Monika_Meler-inverted.jpg" data-mid="131815749" border="0"  src="https://freight.cargo.site/w/1000/i/8a5d46e9db4cd2cdd11e9e04b0943a2a7a0fbbdd566c7a20c2278fadb04b5698/Monika_Meler-inverted.jpg" /&#62;
&#60;img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/a231b27bb9443be5b35cb411430f1ec28af3e4d8a513d05c538137c6cc01fed2/DSCF8804.jpg" data-mid="131815740" border="0"  src="https://freight.cargo.site/w/1000/i/a231b27bb9443be5b35cb411430f1ec28af3e4d8a513d05c538137c6cc01fed2/DSCF8804.jpg" /&#62;
&#60;img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/b931e7a9fc08c4d22286a8fc508e3a34782f5f84ed0a21f7a518edf0d1cb9c68/DSCF8800.jpg" data-mid="131815745" border="0"  src="https://freight.cargo.site/w/1000/i/b931e7a9fc08c4d22286a8fc508e3a34782f5f84ed0a21f7a518edf0d1cb9c68/DSCF8800.jpg" /&#62;
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	Photos by Matthew Roberts
	
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	<item>
		<title>Threshold</title>
				
		<link>https://freshasfruit.cargo.site/Threshold</link>

		<pubDate>Sat, 29 Jan 2022 03:29:24 +0000</pubDate>

		<dc:creator>Fresh As Fruit</dc:creator>

		<guid isPermaLink="true">https://freshasfruit.cargo.site/Threshold</guid>

		<description>
	
Threshold
1 : the plank, stone, or piece of timber that lies under a door : SILL2a : GATE, DOOR
&#38;nbsp; b(1) : END: , BOUNDARY specifically : the end of a runway
&#38;nbsp; &#38;nbsp; (2) : the place or point of entering or beginning : OUTSET

// on the threshold of a new age
3a : the point at which a physiological or psychological effect begins to be produced

// has a high threshold for pain
&#38;nbsp; b : a level, point, or value above which something is true or will take place and below which it is not or will not.

-- Merriam-Webster Dictionary Online








	Ashley Ortiz-Diaz

This exhibition is a continuation of works based on the study of Zion Cemetery in Tampa, Florida. The works of and on paper use abstraction to acknowledge the historical Black cemetery that was found underneath a public housing complex, and the many other ways Black people are disappeared. 

For more details on Zion Cemetery, follow this link.

The Covid-19 pandemic and the uprising against police brutality in the Summer of 2020 have made clear how the vanishing of Black people happens at multiple points: in history, and the ways we remember it, in life, and the breath we are allowed, and in minds and the trauma we inherit. Because of this, our nation is that of hollowed-out landscapes where even at rest, Black people have not been allowed to exist. The work aims to take a painful story, and lay it down with soft hands. 

What can we tolerate? What are the points of tension that might soon break us? 

The work in this installation was created with charcoal, paper, water, ink, and mylar.








See more of Ashley’s work at http://www.ashleyortizdiaz.com/

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&#60;img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/634b0cb0f0cade99be815f6a18f32808b8d2a3088c290dc7ff9bd8a5e6b25750/DSCF8904.jpg" data-mid="131813111" border="0"  src="https://freight.cargo.site/w/1000/i/634b0cb0f0cade99be815f6a18f32808b8d2a3088c290dc7ff9bd8a5e6b25750/DSCF8904.jpg" /&#62;

	Photos by Matthew Roberts
	
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