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GOCA has partnered with the Cultural Office of the Pikes Peak Region (COPPeR) to present FEEDBACK, an opportunity for gallery visitors to participate in regional cultural planning efforts. The exercise asks visitors to respond to four questions about cultural opportunities, institutions, ideologies and practices in Colorado Springs. Responses from the project will not only inform future exhibitions at GOCA 121, but will also be valuable components to COPPeR's cultural strategic planning efforts. More information about the planning process is available at www.coppercolo.org.
GOCA 121 was made possible by generous support from Nor'wood, the University of Colorado at Colorado Springs and GOCA members. For more information on the Gallery of Contemporary Art, visit http://www.galleryuccs.org/ Special thanks to COPPeR and NOSH for providing refreshments for the public reception.
DeLane Bredvik | Art communicates knowledge about reality by utilizing a form of cognition that it not quantifiable. We feel, as well as think about a work of art. Consequently, a viewer may understand something new when looking at art, but not be able to describe it. This ephemeral process of feeling, thinking and understanding is the foundation for my work. A few months ago I read the ancient Greek play Bacchae by Euripides. Phrases describing the chorus, such as "Statuesque immobility," "external simplicity," and "a relatively static chorus," captured my attention. The chorus "served to represent the broad foundation of timeless and popular views of life and to provide a background for motivation and commentary or advice on individual actions." Even in the relatively open and free society that most people in the United States enjoy, there is still the continuous presence and pressure of society to conform to an ideal. The emergence of our character remains fluid and continuous. We understand who we are through daily association with things we come in contact with and those things that repel or attract us. Individuality and spiritual self-knowledge emerge despite the presence of a collective force that compels us to conform.
Corey Drieth | When I make installations and sculptures I am typically interested in the metaphorical use of common materials and objects. Placing slightly manipulated versions of these objects into the gallery context gives the viewer a opportunity to reconsider and expand on their meaning. For Point A, I will be exploring my ambivalent feelings about popular culture...the beauty, humor, spectacle, and exhausted vacancy of it. Ultimately, I hope to create spaces that sparkle and shine, but spaces that are also subtly malevolent or sad. Drieth is an assistant professor at the University of Colorado at Colorado Springs.
Izumi Yokoyama | My work is always inspired by nature's ephemeral and fantastic phenomena as well as the social activities that engage with them. I enjoy watching each season's theatrical scenes such as cherry-blossom petals swirling in spring, lightning bugs dancing around in summer, red leaves softly fluttering down in fall, and snowfall in winter. Growing up in the northwest part of Japan, where snow was my playground, I have always dreamt of building Kamakura, an igloo-like snow house. Neighbors used to gather together to build snow houses for their children. They lit candles inside snow houses as kids sang songs and ate their favorite rice cakes inside. While we still enjoy seasonal gifts of nature, the activity of building Kamakura has become uncommon for today's children. The installation for Point A illustrates moments of such fragile beauty and that reflects the importance of family gathering. Yokoyama was born in Japan and earned her MFA in sculpture from the San Francisco Art Institute in 2009. She lives and works in Los Angeles.