Gallery 100 will feature the work of Josh Miller, a tenured Associate Professor at Kutztown University, in a show titled, "Moving Bodies." The exhibition includes two large-scale installations that immerse participants in an interactive experience: "Wave Form" and "Listen With Your Eyes" transforms kinetic energy into digital visualizations. Wave Form is an interactive installation composed of infinite wave patterns generated in real-time with properties that can be controlled by the participants in the exhibition space. Users turn hand-cranks attached to large gears that will physically manipulate the variables controlling the properties of the wave visualization as well as the generated audio. Multiple people can interact with each other to generate unique combinations of figures, colors, and repetitions, with the goal of creating a distinctively participatory experience. Listen with your eyes is an interactive installation composed of generative visuals and audio, projection mapped on a series of moving panels. The piece is reactive to user interaction, specifically, visuals, position and speed, and audio. The inputs are translated to physical panel motion, sound, and visuals.
Interestingly, Josh's exhibit is best experienced at night -- the gallery will have occasional evening hours, but you can experience the work any time from dark until midnight by stopping by the gallery and hanging out outside.
In Gallery 110, Paul Nicholson, Director of the Martin Art Gallery at Muhlenberg College, is opening a show titled, "Permission Structures." Nicholson combines issues from the news cycle with popular culture to engage the audience in a dynamic multisensory installation. Often, people think of art world as a refuge from the thorny world of politics, but this couldn’t be further from the truth in this provocative exhibition. Paul says about the work that “Everything we do as artists is political, from the explicit content of the work to the public act and commercial enterprise of exhibiting in a gallery. While some art claims to be about communicating truth and beauty, I am compelled to explore prickly problems that aren’t usually covered in the daily news cycle.” Nicholson feels that “Artists aren’t immune from the effects of our news saturated environment; in fact, I find it to be completely overwhelming at times, and with these works, I hope to slow things down a bit, in order to look a little more closely at how we think about difficult issues. I’m fascinated by how our beliefs are shaped by objects and cultural artifacts, as much as they are by arguments, proposals, and endorsements by people we trust”.
Early 2014, I was introduced to the works of J. M. W. Turner (1775-1851) and was moved by his ability to capture the mood of nature in his later atmospheric paintings. Painting in his style, I was able to focus on the dynamic qualities of light; how it bounced, spread, and seeped according to its surroundings - these characteristics changed the way I handled paint. The paint became light, the process became my art. I wanted my paintings to evoke the emotions people feel when confronting nature—without painting nature itself. Later, I found myself moving away from Turner’s style to my own. Reflexively, my previous studies in expressive/gestural paintings and drawings gave this series of work an identity different from Turner’s.