Alia El-Bermani: Like Sound Through Water

Alia El-Bermani: Like Sound Through Water

RALEIGH, NC

Opening reception: Saturday June 1, 4:00-7:00

Gallery hours in June: Tuesday-Friday 11:00-3:00, Saturday-Sunday 1:00-4:00

By appointment in the month of July

Anchorlight presents a solo exhibition of new work by Alia El-Bermani. Through painting, drawing, and paper sculpture El-Bermani shares her current study of loss and resiliency. She allows the grief experienced over a recent loss to flow into a more universal search for quiet meaning.


Spring Open House

Spring Open House

Tour the studios at Anchorlight during our annual Spring Open House. This is also the closing reception of Zugzwang 22 by Brightwork Fellow André Leon Gray.

Saturday May 25, 4:00-7:00pm

Participating artists:

Pete Sack, Luke Buchanan, Janet Link, Shelley Smith, Casey Allen, Alia El Bermani, Chuck Rose, Claire Ashby, Murphy Ayala, Alexandria Clay, Elisabeth Effron, Libby O'Daniel, Julia Caston, André Leon Gray, Jennifer Markowitz, Annie Blazejack, Ben Galata, Evan Lightner

Image: Studio of Anchorlight artist Murphy Ayala

Brightwork Series: André Leon Gray

Brightwork Series: André Leon Gray

Raleigh N.C. *This exhibition is located in our new gallery, 1407 S. Bloodworth St.

Opening reception: Saturday April 27, 4:00-7:00pm

Closing reception: Saturday May 25, 4:00-7:00pm

Gallery hours by appointment; email us.

Anchorlight is proud to present the fourth in its series of exhibitions by Brightwork Fellowship artists at the end of their residency at Anchorlight.

Zugzwang 22 by André Leon Gray

This exhibition, which marks the artist’s 22nd year of art production, examines how the construct of racial identity is used as a political tool for control within social hierarchies on life’s chess board. The title, “Zugzwang 22,” is a word play on the phrase catch-22 and the chess term used to describe a situation where one's obligation to make the next move is a weakened disadvantage.

About the Brightwork Fellowship Program

The Brightwork Fellowship is a residency program located within Anchorlight that focuses on service, leadership, and professional development in the visual arts. The Fellowship provides opportunities to artists through exhibition, group critique, community engagement, and service learning experiences. Brightwork Fellows receive an individual studio as well as shared community work space in which to make their work uninterrupted for a period of one year. This combination of private and shared space fosters an environment of community support, the sharing of knowledge, discourse, and skill.

James L. Williams: Changing Lanes

James L. Williams: Changing Lanes

1 S. Front St. Wilmington, N.C.

Opening reception: Friday April 19, 6:00-9:00

Fourth Friday Art Walk: April 26, 6:00-9:00

Closing reception: Friday May 17, 6:00-9:00

Gallery hours by appointment; email us.

In collaboration with New Elements Gallery, Anchorlight Wilmington presents Changing Lanes by James L. Williams. For James, art has been his way of claiming “home” in his different surroundings. In Changing Lanes, James explored new worlds, organic form, layered color combinations and ideas for reimagining landscapes.  This work allowed him to understand that as we move, we have to redefine the term “home” and create the space and place where we can live wholeheartedly. 

James begins each work by exploring the world around him and taking photographs of buildings, outdoor environments, and interior spaces that inspire him. Working primarily with acrylics and collage, he meticulously maps dense, layered color, ink, tape, paper-weaving, and graphite to create multiple dimensional renderings of his new worlds.

About Anchorlight Wilmington

Anchorlight Wilmington is a short-term artistic activation of space in downtown Wilmington that seeks to contribute to the vibrant arts community through exhibitions, residency opportunities and community programming. Located at 1 S. Front St., the project is an extension of the creative space in Raleigh called Anchorlight that is home to artist studios, exhibitions and production space.

Elisabeth Effron: A Practice of Noticing

Elisabeth Effron: A Practice of Noticing

1 S. FRONT ST. WILMINGTON, NC

Elisabeth Effron

A Practice of Noticing: Photographs From The Weekly Hunt

Opening reception: Friday March 15, 6:00-9:00pm

Fourth Friday March 22, 6:00-9:00pm

Closing reception: Friday April 12, 6:00-9:00pm

Gallery hours by appointment. 

The Weekly Hunt is a community driven art project that teaches mindfulness practices through photography and social media. The goals of The Weekly Hunt are to use cell phone photography to practice moving slower through our days, to observe the world around us more closely, and to experience empathy when discovering experiences that are new and different than our own. The Hunt asks participants to consider the question: How deeply did you connect with, understand, or contemplate one moment, one person, one event today?

The work displayed in the Anchorlight Wilmington gallery represents images taken during the first four weeks of The Weekly Hunt printed on silk. Each visitor to the gallery is asked to contribute their own images to the project through social media and explore what mindfulness can add to their day to day experiences. For the run of this exhibition a Weekly Hunt specific to Wilmington has been created. Images submitted to The Wilmington Hunt will be displayed digitally at the closing reception. 

How to participate:

Using The Wilmington Hunt prompt below as a guide use your cell phone or personal camera to take photos throughout your week based on the prompt. Imagine each prompt is the title of the image you are creating.

Upload those photos to your Instagram page and tag @TheWeeklyHunt, #TheWilmingtonHunt

The Wilmington Hunt 

Like many places, Wilmington is going through physical transformations, is layered with diverse communities and and has seen complicated historical events.

One of the goals of The Wilmington Hunt is to see different perspectives of "home" to create a stronger and more connected community.

- What does community look like to you and your family?

- Where, when, why do you gather?

- Where are borders crossed?

- Past, present, and future.

- Where is the joy in being at home in a place?

Alexandria Clay: Colored Me

Alexandria Clay: Colored Me

RALEIGH NC

Jo Ann Williams Fellow Alexandria Clay

Colored Me

Presented by The Black on Black Project

Opening reception: March 9, 4:00-7:00

Closing reception:  April 13, 4:00-7:00

  In one of her most famed essays, “How it Feels to be Colored Me,” novelist Zora Neale Hurston speaks on how she “feel[s] most colored when thrown against a sharp white background.” Relating to this experience, Alexandria Clay explores what an opposite, colored background looks like; one that prioritized, reinforced and supported her own identity and not just that of the majority. 

   Creating tangible images of this “ideal world” provides an outlet and place of refuge when stepping back from the endless search for equity. It is a process in which we can pause, digest and perhaps grasp a concrete vision on what may one day come to fruition.

   “Colored Me” questions if public spaces — our daily backgrounds — can reflect each and every one of us.

Brightwork Series: Sally Van Gorder

Brightwork Series: Sally Van Gorder

RALEIGH NC

Opening reception: Saturday February 9, 4:00-7:00pm

Closing reception: Saturday March 2, 4:00-7:00

Gallery hours by appointment

Anchorlight is proud to present the third in its series of exhibitions by Brightwork Fellowship artists at the end of their residency at Anchorlight.

My Eminent/Imminent Domain

time and effort in residential space

By Sally Van Gorder

About the work

Routines associated with domestic maintenance require countless, invisible hours and we regularly devalue the labor required to preserve our illusion of control and order. This project is part of a larger body of work exploring the interior and exterior spaces of home, the impossible effort to sustain them and the terrible beauty of entropy.

About the Brightwork Fellowship Program

The Brightwork Fellowship is a residency program located within Anchorlight that focuses on service, leadership, and professional development in the visual arts. The Fellowship provides opportunities to artists through exhibition, group critique, community engagement, and service learning experiences. Brightwork Fellows receive an individual studio as well as shared community work space in which to make their work uninterrupted for a period of one year. This combination of private and shared space fosters an environment of community support, the sharing of knowledge, discourse, and skill.


William Paul Thomas: Bricks Need Mortar

William Paul Thomas: Bricks Need Mortar

1 S. Front St. Wilmington NC

Opening reception: Fourth Friday January 25, 6:00-9:00pm

February Fourth Friday, 6:00-9:00pm

Closing reception: Friday March 8, 6;00-9:00PM

Presented by The Black on Black Project

This exhibition is centered on ideas about community building and companionship, stemming from the artist’s reflections on memories of his childhood home.

William Paul Thomas was thumbing through snapshots from a photo album that his mother began compiling in 1992 and found a familiar image of him with his two younger sisters in Catholic school uniforms. They were standing in front of a cement staircase at home that Thomas’s mother painted a vibrant, hot pink.  The color was his mother’s deliberate choice to bring warmth to that apartment unit for her family and made him consider how aesthetics overlap with bonding and nurturing practices. The works in this exhibition embody this sentiment.

Bricks Need Mortar also involves inviting others to help the artist reinforce the memory of his mother’s painting. He uses social media to distill that memory down to a “pink brick.” Others can interpret this form through their own lenses at http://hotpinkbrick.tumblr.com.

About Anchorlight Wilmington

Anchorlight Wilmington is a short-term artistic activation of space in downtown Wilmington that seeks to contribute to the vibrant arts community through exhibitions, residency opportunities and community programming. Located at 1 S. Front St., the project is an extension of the creative space in Raleigh called Anchorlight that is home to artist studios, exhibitions and production space.


Lamar Whidbee: Daddy's Home

Lamar Whidbee: Daddy's Home

RALEIGH NC

Jo Ann Williams Fellow Lamar Whidbee

Opening reception: January 12, 4:00-7:00pm

Closing reception + Artist talk: January 26, 4:00-7:00pm

Presented by The Black on Black Project

We've seen all the statistics. More than half (58%) of black children are living with an unmarried parent, 47% with just mom. We’re constantly discussing the lack of black fathers in the home and how that weighs on the family. But what about when daddy is at home? How does he raise a child when he’s living in the chaos and confusion of being a black man in America?

The artwork in “Daddy’s Home” explores the decisions artist Lamar Whidbee’s father made and how those choices affected the artist’s approach in raising his own son. In both cases, daddy was and is at home.

Lamar Whidbee is the second recipient of the Jo Ann Williams Fellowship, housed at Anchorlight.


Luke Buchanan: Parameters

Luke Buchanan: Parameters

1 S. Front St. WILMINGTON NC

Opening Reception: Friday December 14, 6 to 9 p.m.

Fourth Friday Reception: December 28, 6 to 9 p.m.

Closing Reception: Friday January 18, 6 to 9 p.m.

Gallery Hours by appointment; email us.

Luke Buchanan is a painter and mixed media artist based in Raleigh, NC. With a formal education in architecture, Buchanan has translated his connection with man-made spaces into visual metaphors for the experience of memory. His most recent collection of work explores not only physical space itself but also the accumulated feelings and memories that are attached to it. Collage materials provide both a physical connection to the past and references to the transitory nature of life. In this way Buchanan documents space; physical, spiritual, and emotional, by defining its parameters.

About Anchorlight Wilmington

Anchorlight Wilmington is a short-term artistic activation of space in downtown Wilmington that seeks to contribute to the vibrant arts community through exhibitions, residency opportunities and community programming. Located at 1 S. Front St., the project is an extension of the creative space in Raleigh called Anchorlight that is home to artist studios, exhibitions and production space.

Brightwork Series: William Paul Thomas

Brightwork Series: William Paul Thomas

Opening reception: Saturday 11/3, 4:00-7:00pm

Exhibition Tour with the Artist: Saturday 11/17, 2:00pm

Closing reception + Artist Talk with Special Guests: Saturday 12/1, 4:00-7:00pm

2017-2018 Brightwork Fellow, William Paul Thomas, presents the latest in an ongoing series of portraiture through the exhibition, Super Normal. These explorations began in 2015 with the portrait of Thomas’ nephew, Michael. In the years that followed Thomas has expanded the series to include men he has developed personal relationships with, some over long periods of time, and others in brief connections such as a daily commute to work.

These portraits are designed to be an intimate gesture of love and recognition to the subject presented. Thomas uses the process of painting as a unique way to record the significance of his connection with each individual. The subjects are presented as busts, elevating the individual to the status of iconography and challenging the viewer’s perceptions of encounters with anonymous Black men. Each subject’s skin tone transitions into a rich blue tone, a reference to the condition known as cyanosis; blueness of the skin that results from improperly oxygenated blood. This marking of the face becomes a metaphor for the disenfranchisement that people of color have experienced by way of white supremacist ideologies. The partially veiled portraits serve as a way to honor everyday people, in direct contradiction to the glorification of celebrities, and reflect the impact each individual has had on the day to day life of the artist.


Susan Keiser: A River Made of Time and Memory

Susan Keiser: A River Made of Time and Memory

Opening reception: Friday October 5, 6:00-9:00pm

Click! Photography Festival presents Susan Keiser, A River Made of Time and Memory. 

“Rivers are one of the abiding metaphors for the human condition. They begin as mountain trickles, grow deep and powerful, spread wide and calm, until at the end, they open their mouths to the sea. We usually envision them as flat blue ribbons, but they are deep and layered. While the current flows inexorably in one direction, its changeable speed cycles objects from surface to bed, creating a second, unseen river of memories. One can never step in the same river twice, just as the stories we tell ourselves about ourselves grow and change over time. My photographs describe my world, not the day-to-day of it, but the sun-born visions and night-bound terrors that memories create and re-create but can’t be seen or understood until pictured. 
I work with a family of four-inch dolls, mass-produced over six decades ago. Intuitive, improvised, my photographs are created entirely in-camera and in available light.”
-Susan Keiser

Susan Keiser is a fine art photographer whose work reflects her long experience in the arts and horticulture. Painter/poet, gardener/naturalist, writer/editor; she has always been concerned with the real-world expression of memories, dreams, and conceptual ideas.

Her photographs have been exhibited widely both domestically and abroad, in solo shows at The Griffin Museum of Photography, Winchester, MA, and The Barrett Art Center, Poughkeepsie, NY, and in juried group shows at venues including The Center for Fine Art Photography, CO; Los Angeles Center of Photography; PH21 Gallery, Budapest Hungary; Texas Photographic Society, Houston; Baxton Gallery, Brussels, Belgium; the Cleveland Print Room; and the Berlin Foto Biennale.

The recipient of a National Endowment for the Arts grant, Keiser attended Pomona College and holds a BFA in painting from The Cooper Union and a diploma from The New York Botanical Garden’s School of Professional Horticulture.

Antoine Williams: Kidnapped Pagans

Antoine Williams: Kidnapped Pagans

Opening reception June 8, 5:00-8:00pm

Gallery hours: Saturdays and Sundays 1:00-4:00

                         Weekdays by appointment

   Kidnapped Pagans, organized by Jonell Logan, founder of 300 Art Project, is a public/private art installation featuring the work of Antione Williams. Engaging in issues of history, culture, and the black experience, Williams combines drawing, painting, and collage to present and challenge the spaces that people of color occupy within our society.  This show, which was installed in Charlotte in 2017 will be on view in Raleigh in partnership with Anchorlight. 

   Kidnapped Pagans began as one model for community ownership and engagement in the arts. As an independent curator, Logan originally partnered with The Mint Museum, individual property owners, Charlotte Center City Partners and Charlotte Urban Design, City of Charlotte, to bring the work to Charlotte. In addition to being at The Mint, the original exhibition included work by Antoine Williams being installed on newspaper kiosks and private buildings throughout Charlotte.  The intention was to expand the exhibition beyond the museum boundaries, foster personal interaction with the work within our communities, and expand our collective understanding of how and where art can impact our lives. A smaller but just as impactful installation of the exhibition will take place in Raleigh, in the galleries and on the exterior walls of Anchorlight. 

   This dually-installed, public exhibition allows for a continuation of support of new and experimental methods of contemporary art making in North Carolina. Kidnapped Pagans creates a timely and creative dialogue around class, race and narrative within the African America perspective. Williams’ work provides a unique opportunity to engage contemporary art, culture, narrative in a way that can foster greater exchange and understanding in a growing and learning city.

About the Curator:

Kidnapped Pagans is organized by Jonell Logan, an independent curator and founder of 300 Arts Project. Logan recently curated the Lilith exhibition at The Light Factory, on view through April 6, 2017. Logan has worked at various museums, including the Metropolitan Museum of Art, Whitney Museum of American Art, and the Studio Museum in Harlem.

About the Artist:

   Antoine Williams’ art practice is an investigation of his cultural identity through the exploration of societal signs as they relate to institutional inequities. He has created a mythology, which have become a narrative catalogue of loosely autobiographical humanoid beings that personify the complexities of perception, which can affect race, class, and masculinity. His works of art are heavily influenced by sci-fi literature from such authors as Octavia Butler and H.G. Wells. Themes in science fiction can be analogous to the Black experience in America. Therefore, Williams has created a world of beings that personify the complexity within hierarchies of power in everyday life. These figures manifest as mixed-media installations, paintings, drawings, and collage. These entities reference the Dadaist, who appropriated and re-contextualized images from society in order to create “anti-art”. Namely Hans Arp, who considered the destruction of “signs” as a subversive act. The signs he is interested in are tropes associated with the Black body within the American psyche.

   In the vein of Felix Gonzales-Torres, Williams has a concern for making the personal, public. These beings (which are nameless) are inspired by personal experiences from a rural working class, upbringing, in Red Springs, North Carolina that related to wider contemporary concerns. Inspired by the Amiri Baraka poem “Something in the Way of Things”, these beings live in the intangible spaces that exist between the nuances of class and race. They are both born of and perpetuate the actions and thought processes due to social reproduction. They exist in an abstracted purgatory.

Brightwork Series: Cliff Elliott

Brightwork Series: Cliff Elliott

   Opening reception: Saturday May 12, 6:00-10:00pm

   Closing reception: Saturday May 26, 6:00-10:00pm

   Cliff Elliott’s prints and collages act as a means to express touchstones of personal experience and explore the question, “How does one function as an ever-changing self in an ever-changing world?”

   In Heavy Color/Nothing Much, Elliot draws from a formal education in graphic design and illustration, piecing together compositions that are reminiscent of Pop-Art traditions through their use of both original and appropriated imagery. He has taken possession of images found in the cultural landscape with the intent of subverting their meaning by placing them in a new context. The resulting collages are full of contradictions, irony, meaning, and nonsense.

   Elliott’s process involves the meticulous collection and cataloging of visual elements into a lexicon that is then used to construct each work. He uses a set of parameters for production that turns the process of creating the work into a potentially un-winnable game. The resulting prints, some of which have been further embellished through mixed media collage, are meant to be irreverent reminders to question how we view and digest an inherently unknowable world. 

   Heavily influenced by the principles of the Fluxus movement of the 1960s, his body of work attempts to cloud the boundaries between art and life. The everyday experience is to be considered just as valuable as the artistic experience as both are simultaneously sacred and unholy.

   Heavy Color/Nothing Much is an exhibition in two parts. Part I, Heavy Color located in the Center Gallery, looks outward through a series of bold, complex images that study the nature of being as it is reflected in the world around us. Part II, Nothing Much located in the Brightwork Gallery, contains an installation compiled of source material that contributed to the making of Heavy Color and is an exploration of the internal self before being influenced by the surrounding world.

Generation Z

Generation Z

Generation Z is an art show created and curated by Southeast Raleigh High School students.  From the creation of the theme, to the content of the exhibit, the students run the show. The show will contain work that reflects how the students view themselves, others, and the world in which they live.

Dare Coulter: Right Before We Fly

Dare Coulter: Right Before We Fly

Jo Ann Williams Fellow Dare Coulter

Opening Reception Saturday March 3, 4:00-7:00

The Black On Black Project presents "Right Before We Fly" by Dare Coulter. It's the first exhibition from the Jo Ann Williams Artist Fellowship and opens Saturday March 3. 

The inaugural fellowship recipient, Dare Coulter, shares a sculptural installation that focuses on our audacity to dream beyond the limitations that are set before us. Coulter challenges the voices of those telling us who we can and cannot be.

The opening reception is 4 to 7 p.m. You’ll meet the artist, learn more about the Black On Black Project plus see a special dance performance featuring Masha Maddux, former principal dancer with the Martha Graham Dance Company.

Gallery hours by appointment, email info@blackonblackproject.com for appointments

Kye + Hardy & Liz Kelly Pop Up

Kye + Hardy & Liz Kelly Pop Up

Saturday February 24, 2:00-5:00

Asheville based quilter Kelly Kye and Raleigh potter Liz Kelly will be popping up at Anchorlight this Saturday! Kelly Kye will have piecework pillows, small quilts, napkins, and more beautiful small framed piecework pieces. Liz Kelly is making an assortment of serving bowls, planters, cups, mugs, plates, vases and other clay home goods. This is also your last chance to see the exhibition Piece(Work) by Kelly Kye! Hope to see you there!

Studio Artist Series: Tim Lytvinenko

Studio Artist Series: Tim Lytvinenko

Our Studio Artist Series continues with an exhibition of large scale photo transfers and prints entitled Liminality, by Tim Lytvinenko. 

Opening reception: Saturday February 10, 6:00-9:00pm

Closing reception: Saturday March 10, 6:00-9:00pm

Gallery hours: Every Saturday and Sunday during the exhibition run, 1:00-5:00pm

                       During the week by appointment

Tim Lytvinenko's new series of works, Liminality, tells a personal story of transition. These large scale photo transfers on wood panels resemble a threshold of change with portraits and elemental subjects.

Kelly Kye: Piece(Work)

Kelly Kye: Piece(Work)

Opening reception: Saturday February 10, 6:00-9:00pm

Closing reception + Trunk Show: Saturday February 24, 2:00-5:00pm

Gallery hours: Saturday February 18 + Sunday February 19, 1:00-5:00pm

                        During the week by appointment

 

 The quilts in this exhibition are a collection of large and small pieces that embody the passage of time through process and material.  Each quilt and new design brings the lessons learned and pieces of cloth left from the one before. 

Kelly Kye is a quilter and lover of quilted things, living and working in Asheville, NC.  She has a formal textile background, receiving her BFA from East Carolina University and Masters of Art + Design at North Carolina State University. She has called North Carolina home for most of her life with a chunk of time working in New York City. Her passion for quilting came after years of slowly realizing the craft of her mother, grandmother and great grandmother could be modern, challenging and rewarding. Her thoughtful quilt business, KYE + HARDY, uses her design and production experience to create one of a kind hand crafted products with reverence for tradition and the home they will live in.

Ely Urbanski: Distance

Ely Urbanski: Distance

Opening reception: Saturday February 10, 6:00-9:00pm

Closing reception: Saturday March 10, 6:00-9:00pm

Gallery hours: Every Saturday and Sunday during the exhibition run, 1:00-5:00pm

                       During the week by appointment

 

This series of prints on paper and fabric is derived from the patterns and experiences of passengers commuting on São Paulo subway system. The use of found materials such as  fabric, buttons, subway tickets, and handwritten letters is an attempt to merge the memories, colors, and experiences of the journey into the prints. The works represent two points set apart in space but connected in time, psyche, and memory.