Erin Riley’s work begins with culling images from sites such as Facebook and Flickr to produce weavings often displaying moments of embarrassment or regret. Her tapestries investigate the commoditization of our seemingly private lives through social media. Greg Lamarche incorporates commercial print into elaborate collages referencing his background in graffiti while employing advertising techniques such as emotive language, puns, and metaphors to impact the image created with words. Ben Venom’s creations are as much a celebration of the fringes of society as they are homage to his grandmother. His large-scale quilts contrast the often-intimidating counterculture staple of biker gangs, metal music and the occult with the comforts of domesticity, effectively retelling the story of the material through a softer lens. Kim Beck’s work is a multimedia driven subversion of commercial advertisement. She aims to reconsider the built environment by evoking satiric juxtapositions of consumerism within the detritus of the everyday. Similarly, Kristen Ramirez’ installation regards the diminishment of local identity and means to critique the pursuit of corporate urban growth that result in the homogenization of suburban/urban locales.
Social media and the digital age are beginning to influence a new form of consumption for current generations. Utilizing the latest technological applications permits access to the market on a global scale, both connecting and isolating individuals from each other, thereby gradually altering the collective cultural identity.
This exhibition is supported by the Lionel Rombach Endowment and the University of Arizona School of Art.