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&yet again & again

&yet again & again is the 3rd biennial exhibition of emerging artists from Atlanta. This year’s exhibition features the work of 50 artists. The exhibition is on view until April 8, 2024. Gallery hours are Monday through Friday from 12-4pm.

Artists featured in the exhibition are:

Allison Aguilera | Layla Amar | Jabria Anala | Haylee Anne | Horacio Arias-Rodriguez | Fatou Bessem | Amanda Britton | Belinda Grace Brooks | Rachel Burns | Chantelle Chapman | Abigail Cook | Orion Crook | Leslie Drennan | Nina Farryn | Thomas Flynn II | Kiara Gilbert | Mare Hiles | Emma Ming Kayhart | Julia Caroline Knowlton | Sunday Avanti Lemons | Jai’lon Lightfoot | Amber Mccants | Kennedy McNeal | Yari Mena | Kole Nichols | Laura Noel | Amanda Norris | Noah Reyes | Rebecca Robinson | Izzy Romano | Rial Rye | Alice Serres | Maleah Stade | Sophie Snodderly | Silently Stitched | Lizzy Storm | Pilar T.W. | Parker Thornton | Maria Villarreal | Krista Voto | Jessica Vue | Harrison Wayne | Liz Whalen | Jande White | Cameron White | Charlotte Wunderlich | Azin Yousefiani | Nyala Yvonne | Helen Ziga

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Transcendent Artist & Curatorial Statements

Personal relationships with gender and identity are unique to every individual. Frequently these identities and experiences transcend the limits of language and semantic meaning. Showcasing visual work exploring artists’ personal relationships with gender, this exhibition will provoke visitors to think critically about what it means to be gendered in the world today and to reflect on their own relationship with gender.

Curatorial Statment

Select the artist name below for more information on their work.

Layla Ali Amar

Jordan Benator

August Fisk

Mitch Galiano

GETSAY

Alyssa Hood

Deborah Hutchinson

Edie Irwin

Emma Ming Kayhart

Kate Kosek

Pia Muhihu

Sara Murphy

Abigail Ranic

Salvi 

Royce Soble

Eliza Taylor

Julian Uhlman

Meganity Wattles

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Dalton Gallery Covid-19 Visitation Guidelines

The Dalton Gallery of Agnes Scott College is excited to welcome you to view our fall exhibition, Transcendent in person starting on September 20. For the safety and wellbeing of our visitors, students, staff, and campus community, our COVID-19 visitation policy abides by regulations set by the Agnes Scott College COVID-19 taskforce. We ask that you observe all guidelines below and follow any requests made by our in person staff.

Agnes Scott College requires masks while indoors for all off-campus guests visiting the campus- masks are mandatory at all times while you are in the gallery. You will not be able to enter the gallery without a face mask.

Please reschedule your visit if you are feeling unwell or experiencing any symptoms of COVID-19 (fever, shortness of breath, loss of taste or smell, flu-like symptoms or general discomfort).

Surfaces and restrooms are cleaned and serviced between gallery visits.

If you have any questions about visits to the gallery please email acarnes@agnesscott.edu

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Welcome

Welcome to the Dalton Gallery at Agnes Scott College.

Our fall exhibition Recordar/Anhelar: Aesthetices of Undocumentedness will be on view September 15 – December 1.

Our Gallery Hours are:

Monday through Friday 12-4pm

(Special weekend hours are dependent upon staff availability. For changes to gallery hours please check our social media accounts.)

About Dalton Gallery
On the campus of Agnes Scott College, near the corner of East Dougherty and South McDonough streets.

Agnes Scott officially opened the Dalton Gallery in the Charles A. Dana Fine Arts Building on October 24, 1965.  Today, the Dalton Gallery operates as a teaching gallery, as a way of recognizing the inherent expressive value of art, its enrichment of the human experience, and the dependence of global culture on visual literacy. Exhibitions engage with on campus conversations centering around the intellectual and social challenges of our time.

The Dalton Gallery is located in the Dana Fine Arts Building on the back side of campus. For parking please use the Visitor Deck located at 137 S McDonough St Decatur, GA 30030.

Contact us via email: daltongallery@agnesscott.edu

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Fall 2023 exhibition: Recordar/Anhelar: Aesthetics of Undocumentedness

We are excited to announce our fall exhibition- Recordar/Anhelar: Aesthetics of Undocumentedness curated by Erika Hirugami.

The artworks in this exhibition are a multiplicity of remembrances that together outline the embodiment of undocumentedness as a mediation of hope. In this exhibition the recollections of Jackie Amézquita, Yehimi Cambrón, Nube Cruz, David Cuatlacuatl Federico Cuatlacuatl, Jose Ibarra Rizo, Martha Osornio Ruiz, Isidro Perez García, Elizabeth Pineda, Karla Rosas, Luis Alvaro Sahagun, Nicole Solis-Sison, and alejandro sosa converge interdependently to speak of memory, family, community, migration, spirituality, indigeneity, care, and futurity from an undocumented axis. Through the collective cacophony of visual depictions found within this exhibition, artists in the undoc+ spectrum confront their inner longing while honoring and affirming their cultural heritages. It is through collective recollections, testimonios, and recounting of oral traditions that this community thrives, is cared for, and stays safe. Here today, we remember and honor this memory and practice as integral to the undoc+ community. Individuals in the undoc+ spectrum have lived or are currently living undocumented.

We would like to thank Virginia Philip ’61 for her generosity in making this exhibition possible. The Margaret Virginia Philip Art Endowment Fund, which she established in 2006, brings an art exhibition to The Dalton Gallery every 4 years, with the goal of enhancing our students’ college experience. In a time when funding for the Arts is disappearing, we remain grateful for her support. 

This exhibition will open September 15, 2023 and will be on view December 1, 2023. 

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Transcendent – Curatorial Statment

Everyone lives a gendered experience.

This is a neutral statement.

When I wrote the call for entries for this exhibition I was very intentional with the language I used. As I wrote there- our personal relationships to gender and identity are unique to every individual. I was conscious of the fact that my own language could be a limiting factor to the exhibition, and strived to avoid curating a show that only spoke to my experiences. In conversations I had about the exhibition a common thread emerged that often, someone felt their work “didn’t count”. There was this idea that simply the base concept of gender was a limited experience. Just the word “gender” carried an inherent association with queerness that I wasn’t sure how to navigate as everyone lives a gendered experience. Sure, some people are more in tune and intentional than others when it comes to their relationship with gender, but everyone, as a facet of existing in the world, experiences gender. 

As a gallery located within a historically women’s college (HWC), I am sensitive to our language and daily interactions with gender. And as an alumnae of this college that does not identify as a woman, I am extra sensitive to the the limitations of language as it relates to our campus community. In the past few years as organizations have written their diversity and equity language, I have paid extra attention to those were organizations and institutions that historically have served women. 

I think one of the more complex ideas that has been navigated by historically women’s institutions is the notion that they can honor the original intentions of the organization but also include gender identities beyond the binary. 

I’m not speaking specifically on one organization here, but often in my experience, while written policies discuss gender inclusivity, organizations may not taken the time to reflect for themselves on what these new policies actively mean in their everyday functions. Language is important- but self-reflection is integral. You can say you are inclusive of gender identity, but unless the time has been taken to understand the policies as their intersect with your organization’s actions, nothing has been achieved. 

I say this not as an attempt to shame these institutions, but to acknowledge an opportunity for growth. I believe we as humans are better and more whole people when we take the time to reflect on what we believe are universal experiences. 

Personal relationships with gender and identity are unique to every individual. Frequently these identities and experiences transcend the limits of language and semantic meaning. This exhibition showcases visual work exploring artists’ personal relationships with gender. I hope this exhibition will provoke you to think critically about what it means to be gendered in the world today and to reflect on your own relationship with gender. 

If you find yourself challenged or conflicted about any of the artwork in this exhibition I want to encourage you to take the time to stop and reflect on what specifically is challenging you and where those feelings are coming from. Conversations surrounding gender- while not new- are still difficult at times to parse out from our lived experiences and inherent assumptions. While it is easier to ignore what makes us uncomfortable it’s of the upmost importance to choose not to turn away, but to look inward. 

  • Anna Carnes
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Transcendent – Meganity Wattles

Meganity Wattles – they/him

The attached works (Digital Assignments) explores the relationships of the body experience and identity through a nonbinary/genderqueer lens. I wish to share that there is an option that isn’t male or female, because that concept was revolutionary for me. External genitalia is from where we are given our birth genders and by remixing the forms I attempt to recontextualize this (occasionally emotionally violent) assignment into something transformed. I take aspects of the binary genders (female and male, vulva and phallus, pink and blue) and combine them into new configurations. I choose ceramics as my medium due to its inherent reference to the body and to the human; soft, supple, water-based, from the earth, but made into something entirely else from the mastery of fire. Much of my art involves long periods of intense concentration and efforts expended into control; hours spent carving intricate swirling details, the process of moldmaking itself from lifecasting to slipcasting, mixing and measuring minerals for glazes, and the endless recombination of my fingers onto things. But clay reaches a point where you must stop, let go, and fire the piece. The temperatures transform the mud into something entirely different.

Neurodivergent and Queer, Glitchy nonbinary transmasculine sculptor. BFA in Three Dimensional Studies/ Ceramics from GSU. Digital artist by night, sculpting by day.

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Transcendent – Julian Uhlman

Julian Uhlman – they/him

The mediums I enjoy are collage and painting, which this piece combines. This work, entitled “BINARIES,” is a text-based piece using resolute language and the recognizable pink-blue color combination to condemn the concept of binary.

Julian Uhlman is a sophomore creative writing major from southeast Pennsylvania. They are interested in combining their passion for written work and poetry with the visual medium.

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Transcendent – Eliza Taylor

Eliza Taylor – they/she

My work is a tool to explore human existence and our interactions with nature. I begin the artistic process by sourcing images from the internet and my life. I then compile these images on top of one another to express the past present and future of a moment in nature. Often these moments are wildfires. Then I combine important imagery from my life, such as my girlfriend or a childhood game. I aim for the viewer to use my work as a place to process the highs and lows of human interactions with nature. Along with the viewer, I hope to find peace and clarity through the creation of this work.

Eliza Taylor is an Atlanta-based artist whose work explores the relationship between human emotions and nature. They work with a range of mediums but are often working with oil paints. Taylor was born in New Jersey but has spent most of their life in the Metro-Atlanta area where they also attended GSU for their BFA in Painting. At GSU Taylor was awarded the Marion B. Davis Scholarship. Additionally, they interned at the Atlanta Contemporary for the summer 2020 session. Currently, they work as a Forestry Technician with Trees Atlanta.

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Transcendent – Royce Soble

Royce Soble – they/them

I have been working on paper since 2016. I mix mediums of high flow acrylics, watercolor pencils, graphite, and archival gel pens. Instead of brushes, I mix paints by spraying water on the papers. Then, I press papers together or drag paints with the tips of sharpened pencils. Exploration of what I think how people, who are queer, appear and live on the gender spectrum. There is not one way trans folx present themselves. As I am continuing to step into my own transness, I will continue to explore ideas on paper.

oyce Soble is a Native Atlanta who is a photographer and working artist over 25 years. They received their BFA in Photography in 1998 at Georgia State University. While Soble was working on their BFA in Photography, they took various classes of drawing and painting. Their passion for photography now had another medium to explore. Soble fell in love with Abstract Expressionism and has been working in that style for over 20 years. Since then, Soble’s fine art accomplishments range from being a part of shows including The Nexus Biennial, Hambidge Gala Exhibitions, over 20 years as a contributor with Art Papers Annual Art Party, and a solo exhibition at Callanwolde Fine Art. Soble’s documentary work is permanently archived at The Stuart A. Rose Manuscripts, Archive, and Rare Book Library of Emory University. The Collection of photographs begins in 1992 – 2000 of 24 photo albums of Soble’s life in Atlanta. It is full of their personal experiences as a participant, but also the voyeur. Covering Atlanta’s nightlife, art scene, and LGBTQ+ community that they grew up with. Each album is annotated with names, places, and dates. It is a chronological view of turn of the century Atlanta. Soble has a deep connection with both their Family, but also their Chosen Family. A Visual Storyteller. Soble expresses their emotions through their lens and through their mark making.

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Transcendent – Salvi

Salvi – he/they

Salvi’s art serves as a map that he creates to aid in the exploration of his own mind. In his work you’ll find themes of pain and conflict made into something beautiful through his curiosity. Salvador considers himself to be a creator of worlds hoping that, in pursuit of a place where he can feel comfortable, he can simultaneously provide a sense of community for other people who see the world differently.

Salvador Iglesias is an interdisciplinary artist, with a focus in digital art and mixed media, based in Atlanta, GA. Salvi was raised in the Dominican Republic and immigrated to the United States when he was 11 years old. Growing up, Salvador was exposed to all walks of life. He quickly learned of the vastness of the world and found that same expanse within his own subconscious. He sees the world through a unique lens, developed over the span of his life, which depicts elements of the natural world as his closest companions and his innermost self as his shadow.

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Transcendent – Abigail Ranic

Abigail Ranic – they/he/she

Much of my work is addressing “non traditional” beauty standards and what makes bodies unique in their own way. I am a printmaking student at Georgia State, and I use mostly monoprinting and reductive techniques to produce art that is moody and reflective. “In Between Bodies” is a diptych piece I created; a commentary on my own gender identity as a non-binary person. Showing two cis gendered people with myself (not pictured) somewhere in between. “Self Reflection in Black” is just that, a reflection, or examination of myself and my own body. I made the abstracted version of myself intentionally androgynous with a pronounced adam’s apple and small breasts to further push this idea of androgyny.

Abigail Ranic knew what they wanted to be from a very early age. Being born in the summer of ’98 alongside their equally artistic twin, Abigail has always struggled with being their own person. This, accompanied by the perpetual absence of their mother, led to pieces that plead for attention while providing a window into past trauma and the ripples that have formed. Ultimately, Abigail’s work is the ultimate expression of an ego that has yet to come to terms with itself. Being queer and non-binary, the Decatur based artist also touches on their identity in the context of gender as well as non conventional beauty. Throughout their artistic career, Abigail has dabbled in various mediums, most notably oil painting, ink/charcoal drawing, and nude modeling. However, they found a passion for printmaking and began taking on techniques such as screenprinting monotypes, reductive monotypes, cyanotype, and relief processes. Abigail takes inspiration from the works of Opal Ecker DeRuvo, Picasso, Jenny Saville, and Anita Seckler. However, their main goal is to share what they’ve learned with the artists that will come after, whether it be through teaching or the ever expanding archive of their own work.

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Transcendent – Sara Murphy

Sara Murphy – she/her

In ‘Performance Theory,” ink drawing, acrylic and watercolor painting, monoprints, and resin on panel combine to create a multilayered image that attempts to express some of the vibrant, pulsing frustration that seems to come hand in hand with attempting to embody (or at least not insult) a societally acceptable framework of given gender expectations. The stenciled background, inspired by antique wallpapers, is a symbol of societal homemaking expectations, “pretty” faces trapped within the patriarchal and puritanical constraints of society’s subconscious. The birdcage, calling out a loss of freedom, is paired with lilies and lavender, two flowers representing purity, innocence, femininity, and –particularly relevant of late — fertility. The figure, with short (read: masculine?) hair and fabric-filled couture (read: feminine?) attire, meets your gaze. But she is tired. It’s all a performance, really, after all. We’re all just playing a part. And what part we’re playing can change at any given time, if you let it.

Sara Murphy is an Emmy Award-winning producer and lifestyle writer turned mixed media artist who combines ink drawing, painting, printmaking, and collage to create dramatically layered pieces in minimalistic color palettes. Mixing detailed line work with commercial imagery and text, her work focuses on themes of nostalgia and mortality, and often depicts the juxtaposition of urban landscapes with natural elements; manmade objects with living things. Her mixed-size, resin-on-wood panel pieces use fine floral imagery, archival portraiture, and monochromatic color combinations to highlight the inherent cognitive dissonance of contemporary culture.

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Transcendent – Pia Muhihu

Pia Muhihu – they/them

My Artistic practice begins one of two ways: first being a new canvas or paints to try out and second being an idea that rolls its way into my life sometimes overnight other times months long. These are examples of both. The first piece titled in my room was set and created purely as work that queer people like me would hang in their most precious of spaces. Using subtle markers in the short nails and the bits of masculine clothing peaking through I felt it was ideal for other AFAB nonbinary masc folks to feel seen and represented. The Second piece titled Growth Mangifera indica, was an idea that i mulled over for about 2 years! but there was no better way to visually represent what coming into myself looked like. Working on beginning my transition and maintaining new sobriety I felt like I blossomed, just like the flowers do. Once the idea appears I take out the camera and shoot reference shots to later doctor and tweak in photoshop. I work with the photos until I have a solid base to begin my drawing, then I create a value study and color study. After all the kinks have been worked out I mix all my paints and get to work on the final piece, this is always a highlight in my process and something I could do forever.

Hello I’m Pia, a Kenyan born Artist raised in Birmingham AL and grew up in Atlanta. I’m finding my artist flow in the spaces in between all the places I’ve called home. My art practice began as a therapeutic tool to aid in my depression at a young age and blossomed into a much loved career over the past 10 years. When it comes to the materials I use, it truly depends on the mark it makes and the emotion or feeling I’m trying to convey. So far I’ve worked with and enjoy Watercolors, Acrylics, Oils, Gouache, graphite and charcoal, and digital painting suits. The goal is to make the idea come to life so whatever tool works best is what I’ll use. In my work the themes that tend to recur are centered around black people and plants. I love the way you can use the body to tell a story, a hand can hold so many different lives depending on the light and the pose! I paint for the version of me that needed to see these things in the real world, and I’ve found a good community that supports that and needs it too.

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Transcendent – Kate Kosek

Kate Kosek – she/her

My fiber sculptures playfully scrutinize and critique the gendered hierarchies inherent within art, craft, and design. I use abstract and representative forms to disrupt the ways we perceive an idea or an object’s function. Since the concept of craft was invented in relation to industrialization, I fluctuate between hand and machine processes to traverse the boundaries created by uncooperative social structures. No material is off limits as I analyze the absurdity in how we constantly categorize types of work based on the binary. As bodily autonomy is threatened and Western society continues to gender and assign values to physical and emotional labor, my visual language challenges and dismantles the outdated perceptions embedded within contemporary culture.

Kate Kosek is an Atlanta-based visual artist whose studio practice evolved from her obsession with pattern-centric crafts made during an early 90’s childhood in Latham, New York. Kate exhibits her work internationally and has been commissioned for numerous mural and design projects. She is included in publications by Chronicle Books (US), Laurence King (UK), and Atem Books (Spain), and her 2014 clothing collaboration with Gorman was featured in Australian Vogue. Kate received her BFA in Painting and Drawing from SUNY New Paltz in 2009 and is currently an MFA candidate at Georgia State University with a concentration in Textiles.

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Transcendent – Emma Ming Kayhart

Emma Ming Kayhart – she/her

I am a cis woman who took Accutane, the acne control medication, for 6 months during 2019. When I took the medicine, the language/verbiage for the instructions and information was very gendered. There were tons of warnings for *female* patients who can get pregnant and few to no warnings for *male* patients. This exclusionary language has now been updated to *patients* who can/cannot get pregnant. Accutane works great for those with non-hormonal acne issues and is a category-X prescription. It can cause serious birth defects, so much so that it is a federally-regulated program. Those who can get pregnant have to be on two forms of birth control as well as prove that they are not pregnant during every month of the course and one month before plus one month after. For me, I saw the routine of taking a UPT (pregnancy test) and forms of birth control just as something I had to do to continue the prescription, but for those who are making a transition, it can be very harmful to their mental health and gender affirmation. If you were to become pregnant while on Accutane, you would have to stop immediately and it is highly recommended that you get an abortion. With Roe v Wade being overturned, it brings another layer of risk to taking the medication. Materials: screen prints, stitchery, liquid latex, paint, papier maché (using iPledge consent forms), medical glass slides, recycled glass bottles

Emma Ming Kayhart grew up in Atlanta and holds a BFA from Massachusetts College of Art and Design. She works in mixed mediums that include hand cut paper, printmaking, drawing, and glass, smashed and reconfigured.

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Transcendent – Edie Irwin

Edie Irwin – they/he/she

Before creating this piece, I had some words cut out of an article about memory and memory loss, which I intended to use in a piece reflecting on myself and growing up. I used some of those words (“even if she does not recognize herself”) in the upper half of the work, in conjunction with words found in an article about a woman whose photography investigates masculinity, to talk about how for me femininity and being a woman felt like a role I was playing, albeit not particularly well. In the middle and lower half, I used words from the same photography article to show the inner turmoil I (and many others) feel over the complexities of gender, in particular the confusion of “do I want to date that person or do I want to be them”? The words running along the side are about how I’ve come to realize that I do not exist within one of two things (man or woman), but rather fluctuating between, or experiencing both and neither at once. I included “you don’t know yourself” and “who am I? what am I?” as a way to express how I don’t feel like I really know myself, and don’t feel like I ever will. Initially I chose the background because I thought it was pretty, but as I worked on this piece I realized that it slowly transitions from pinky purple (a traditionally feminine color) to angular blue and green (traditionally masculine associated shapes and colors). In hindsight, I think I was also drawn to the image of hair, since it is something that is very important to a lot of people’s genders, and because I was thinking a lot about my hair at the time of creation (I had my friend cut it short the day after making this.) In the bottom left corner, I used the image of a woman with a measuring tape to incorporate my struggles with an eating disorder (like many trans people), born out of a desire to change how I look, both gender-wise and because society hates fat people. Even now, although I consider myself to be mostly handling those thoughts well, I do yearn for the androgyny that being skinnier and thus having a more angular face and small curves gave me. I included the frame because it reminds me of breaking out of both those unhealthy patterns, and the molds that society has set for how gender should look. In the lower left corner, I have the words “some girls are boys,” because I’ve found that to be the best descriptor of my gender. It also represents how I, simply by existing, am breaking the boundaries between boy and girl, gender and presentation, and how bodies should look.

Edie is a sophomore studying mathematics at Agnes Scott College. Originally from Chapel Hill, NC, they have always had a love for the arts, both as an observer and a creator. Throughout his life, he has dabbled in many mediums and methods of crafting. Recently, Edie has been creating collage artworks, enjoying the process of creating something new from the pieces of something old.

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Transcendent – Deborah Hutchinson

Deborah Hutchinson – she/her

Reflecting on my prior practices, forms related to concealment and contraction, and were repeatedly emerging. These forms evolved through both subliminal attractions and manipulation of the materials. This particular form emerged as both a release from a disconcerted sense of self regarding my lesbianism and an attraction to the combining of these materials

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Transcendent – Alyssa Hood

Alyssa Hood – she/her

My work explores my identity and relationship to image making as it has been greatly influenced by my formative years as a member of a controlled organized religion. Through my research I examine the influence of religious indoctrination of images throughout childhood and early adulthood, and how imagery has conflicted with my own vision and experience of the spectacular. The forbidden influences of pop culture, sex shop windows, prohibited images, and films manifest themselves into my vision, and raised questioned against the patriarchal authority. The process of deprogramming my own vision is examined in my painting process of demolition and rearrangement of sanctioned religious imagery composed by my own autonomy.

I am an artist earning her MFA from Georgia State University. I’m originally from Salt Lake City Utah and received my BFA from the University of Utah. I enjoy exploring nature, making messes on my palette, and my sweet cat Sabine

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Transcendent – GETSAY

GETSAY – they/them

GETSAY is a Queer and non-binary Conceptual Artist, Activist, and Curator. They currently reside in Atlanta, Georgia, where they are a Studio Art: Focus in Photography MFA Candidate at Georgia State University (graduating 2023) and a Teaching Assistant of Photography and Studio Art. Their work stems from ideas that expand oneself through a relatable and textual lens—ultimately exploring the liminal space between perception and reality to create work that translates—bringing those ideas and knowledge to the surface and becoming transferable across cultures and society. GETSAY has exhibited and performed internationally, with recent performances and solo exhibitions at the Burren College of Art and Design, Ct. Claire Ireland (2022) and The Ernest G. Welch School of Art and Design (2022). In addition to their solo experience, their work has been a part of exhibitions at Emory University, The Atlanta Contemporary, Gallery 874, and many more. GETSAY has curated international exhibitions at the Center for Civil and Human Rights, Sycamore Place Gallery, and many other locations and featured in publications such as ARTS ATL, Georgia Voice, Wussy Magazine, and The CNN Freedom Project, and others. GETSAY is formerly the President of the Women’s Caucus for Art of Georgia (2017 to 2020) and the Founder and Chair of the LGBTQIA + Caucus of the National Women’s Caucus for Art. GETSAY has a background working in galleries, museums, Universities, and Non-Profit Art organizations.

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Transcendent – Mitch Galiano

Mitch Galiano – any/all

The Act of Acceptance is a self-portrait, which seems serene or even contemplative on a surface level. Those who know what to look for, however, will see that I am wearing a binder and that this piece is actually an homage to my genderfluid identity. This is the reason I chose to add a sash to slightly cover it up; it was important for me to have it as a secret with the knowing viewer. At the time of making this piece, I was still coming to terms with my identity, which is why it is more secretive than it would have been had I made it now. However, the pose I have placed myself in, the circular light behind the figure, the sash across the side of the body—all these characteristics are almost religious in nature. This was intentional. I wanted the viewer, especially one who recognized that I was wearing a binder, to see the ways in which I wished to worship myself. 

Mitch Galiano (any/all pronouns) is a senior at Agnes Scott College. His multiple identities—such as being genderfluid and Mexican American—are a big part of their work and why he makes art. He has experimented with a variety of mediums and often classifies her pieces as mixed media. In the future and as part of their senior art seminar, she plans to use found objects to create interactable, sculptural pieces. 

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Transcendent – August Fisk

August Fisk – he/him

This piece takes a stereotypical “girl’s toy” and uses text to address the audience and make them consider a different viewpoint of the trans perspective. It uses both the front and the back of the toy box to address the viewer. This piece also uses the toy itself, in an altered state, to also challenge the viewer as paired with the text.

I make art, often through collage, that focuses on the queer and small town identity.

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