Burnaway checking out Urban Sprout Farms with founder Nuri Icgoren and Deer Bear Wolf’s Davy Minor. Such a fantastic place! #phoenixfest #urbansproutfarms http://ift.tt/11wpvhD

Thanks again BURNAWAY for inviting me to curate the blog this week, on behalf of The Creatives Project !

Here are some of the final installation images from the CONTINUUM Exhibition! The show will be up through Wednesday Oct 15th.

Gallery Hours:

Sun. Oct 12th 2pm-5pm

M-W by appointment. Please email us to schedule a visit info@thecreativesproject.org

Address: The Goat Farm Arts Center
1200 Foster St. Atlanta, GA 30318

Hope you have enjoyed the work of our residents this week. See you soon Atlanta!

-Neda & The TCP Family

Masud Olufani | CONTINUUM

We had a chance to catch up with Masud Olufani at his TCP home/studio as he prepared works for CONTINUUM! Masud completes his residency at the end of the month. He’s been making great use of the live/ work space as to accommodate his sculptural process while contributing to the creative lives of youth in the community.

Thematically my art is rooted in the human experience as seen through a prism of blackness vis-à-vis the African American experience. This is reflected in my choice of materials such as cotton, tobacco, sugar, red clay, hair, and rust which suggest particular cultural and historical associations—but meaning can be elusive. There is a conceptual subversiveness within the work which alludes to the complex history of race but resists the tendency to make reductive observations—things are not always black and white. I am interested in exploring the contradictions and the tension of our “racialized” past—the beautiful and the grotesque, the mundane and the majestic, the joyful and the sorrowful. It is within the framework of that exploration that the veil of separation is removed and the legacy of a shared history revealed.


imageMasud Olufani, Soup Coolers (IN PROGRESS)

imageMasud Olufani, Poetics of the Disembodied (IN PROGRESS)

imageMasud Olufani’s Continuum Installation appearing from left to right 

Sapling, wood, resin, axe, pillow, paint, and silkscreen on wood. 

Children of the Windy City, graphite and conte’ crayon on wood, gun, vintage segregation sign, sound.

Root/ Memory, cast bronze, locks.

Weight of Memory, Forged steel, carved buckeye, radio flyer, stain, wax.

Poetics of the Disembodied, forged steel, wood, pigment, resin, journal 

imageMasud Olufani, Children of the Windy City, graphite and conte’ crayon on wood, gun, vintage segregation sign, sand, sound.

Between 2008 and 2014 some 1,336 children under the age of twenty five have been murdered on the streets of Chicago. The enormity of that lose and the wasted human potential associated with it, formed the conceptual framework for this installation. These renderings based on randomly chosen photographs of victims, represent a sampling of young lives taken by gun violence. The juxtaposition of the drawings with the vintage segregation sign underscores the intersection of death and race. The line drawn in the sand is a declarative statement___ “no more!” I am interested in the way we process lose in America, and how we assign value to lives. Is the spiritual landscape of our empathy and outrage inclusive, or is even our experience of death subject to marginalization and social ostracization? Whose children are these? Yours? Mine? Or do they belong to all of us? These are difficult questions which must be askedpublically, privately, and most importantly honestly.

*It is important to note that although the murder rate among Chicago’s youth was the conceptual trigger for this work, the disproportionate deaths of young black and brown men vis-à-vis gun violence is an ongoing national tragedy with roots that extend to every corner of this nation. The systemic causes of which link the legacy of slavery, Jim Crow, social economic oppression, and indifference to the blood soaked streets of our inner and outer cities.

Malcolm Stuckey 19 | Carnesha Fort 22 | William Aikens 18 | Hadiya Pendleton 15 | Martavian Emery 21

Deandre Barber 18 | Deshawn Johnson 17 | Geanni Boyd 16 | Marc Campbell 20 | Jonylah Watkins 4 months

Nicholas Keener 16 | Cortez Rivers 16 | Demureyah Macon 13 | Markeyo Carr 17

Kevin Diaz 14 | Tyrone Lawson 17 | Damani Henard 14 | Eric Woods 25 | Willie Buie 20

Tremaine Scott 19 | Aaron Rushing 15 | Kendall Floyd 20 | Kevin Baker 19 |Timmy Bermudez 19

imageMasud Olufani, Children of the Windy City, graphite and conte’ crayon on wood, gun, vintage segregation sign, sound. (shown last year at TCP’s MOMENTUM exhibition)

Andre Keichian | CONTINUUM

Andre Keichian is another The Creatives Project 2013 resident who just left us for grad school!. We are excited for Andre’s mini homecoming from California Institute of the Arts.

Andre Keichian, Homosexuals are so egotistical, they just want to have sex with themselves, 2014.

I am attracted to the dynamic nature of video and film. The intersection of image, sound and movement appropriately speak to the fluidity of identity. I believe these mutable qualities challenge static depictions of the body as object, as any collaborating persons maintain an essential role through their physical participation and engagement.

I focus on creating a climate of trust. In part, I establish this through the means of a fixed visual structure, so as to set a physical boundary of safe space and to establish a distance from the camera while shooting. I keep these technical decisions simple and clearly defined as to have the freedom to address and play with the performativity of the work. My aesthetic is deliberate but improvised; everything is only shot once and is unedited.

Andre Keichian, auto-pecho, i. 2013.

Andre Keichian, i like your bold(er) moves, 2014.

I am dependent on the exchange of participants; it is a balance of having (structural) control while maintaining openness for the unexpected. I am compelled by the idea that I can never truly predict the outcome of any particular piece. This creates a neutrality of power and interdependence between artist and participant, and artist as participant. In this sense, the documented outcome speaks not only to the expression within the moment, but relies on the relational exchange of those involved.

My work serves as studies; these videos are part of an ongoing survey. Though they largely address themes of gender and sexuality, I am additionally moving towards the consideration of the role of culture, ethnicity and language within a larger spectrum of community and identity.

Andre Keichian, i just need a little tea & sympathy, 2014.

Our residents have been installing all week and we can’t wait to share their work with you! Come on by for the big reveal. The CONTINUUM Exhibition opens tonight 8pm at the Goat Farm Arts Center!

Fatimah Abdullah | CONTINUUM

We don’t know where she finds the time, but not only is Fatimah Abdullah a pretty amazing TCP resident, she is also the director of ASIFA’s Atlanta Chapter. Fatimah is cooking up a pretty complex installation for your animation viewing pleasure.  


The way we move and shape our environment shifts with perceptions and archetypes over time. Gait gives way to character, collective desires transform our landscape, the future is built and relics destroyed by the movements of progression. Smooth, rich patterns in nature develop over millennia, yet human interactions leave fleeting, aggressive marks. When Iwork, I envision such transitions and patterns and attempt to capture these opposing forces and the liminal places they create.

Here are a few stills from her animation that will make its debut Friday night:


Fatimah Abdullah, Robe, animation still


Fatimah Abdullah, Stairs, animation still

As an exercise to understand individual elements that make up a greater pattern, I sketch architecture, fabric, textures, and tools from my own surroundings and recreate them as hand-craft cutouts, photocopies and line drawings to manipulate and shoot. Transitions and patterns are discovered in the editing processing as I experiment with automation and layers to find unexpected combinations and displacement, adding nuanced complexities that mimic the organic creation of the nature world.


Fatimah Abdullah, Landscape , animation still

"Pavillion" installation shot for CONTINUUM

Nick Madden | CONTINUUM

The Creatives Project resident Nick Madden entered the program this fall as resident Jason Kofke moved to NYC. We are so excited to have him on board. 

He is working on a pretty amazing installation for the exhibition that we will post images of tomorrow. In the meantime, these images will give you as sense of the new direction of his work.

 imageNick Madden, Small Growth, wood and acrylic

My work is currently dealing with the declining health of my parents. My father is battling cancer and my mother is suffering from dementia. What is happening inside of their bodies is so abstract to me, despite countless articles and doctor visits that try to explain and simplify the functions and effects of these illnesses.

In my mind I see lines connecting between parts of the brain, forming tangles, intersections, bundles that carry information like highways but get sidetracked and lose their destinations. I see blobs of cells off-gassing toxic chemicals and spreading while little alien structures invade and attack. Struggles occur. Tension builds. Bright colors and a playfulness belie the anxiety that bubbles underneath. Unique forms grow. Battles are fought. The winner is yet unknown.

imageNick Madden, Multiple Growths, wood and acrylic

imageNick Madden, Blood Brothers, acrylic 

Lucha Rodriguez | CONTINUUM

Creatives Project resident Lucha Rodriguez develops series of organ inspired “Creaturettes” which expand into her own extravagant symbolism related to the body as an internal space. Her work is evolving in a direction that encourages viewer interaction within her seductive pink creations.

imageLucha intalls her work for CONTINUUM.

imageLucha Rodriguez, Plastica Rectangular TRES, hand cut polystyrene

The aim of the work is to explore the various definitions and conceptions of the ”internal”, not only as related to the human body but also it’s relationship to the mind. The work exists within the play of interpreting the “internal” as the inside of the body represented by the essence of human organs and a more metaphysical idea of the internal as related to the mind. It defines and constructs a place for meditation, creativity and self-examination, all actions encompassing private dialogue that claims the body as an intimate private space.
imageLucha Rodriguez, Creaturette Fluorescente Cuadrada DOS, hand cut paper and acrylic paint.
The investigation of such a general and abstract work can only be guided through the implementation of a contention structure, which so far has been the human body. The dialogue between science and metaphysics is what makes the work interesting because one is informing the other in distinct ways, making it possible for the work to navigate from suggestive-representational and the somewhat abstract.

The intention is not to study the human anatomy or its organs but to reveal the experience of the internal as a metaphysical state of the mind that could be explained by borrowing scientific understandings of the human body.

imageLucha Rodriguez, Promenade Installation, hand cut paper and acrylic paint

Jason Kofke | CONTINUUM

Jason Kofke has been keeping busy while in NYC! Luckily, he still has time for The Creatives Project. We received his works for the show yesterday and are happy to share these with you!

imageJason Kofke, Asymmetric Warfare, graphite and charcoal on paper

Jason Kofke understands a culture through images of what has been abandoned, discarded, or abrogated. He uses art as salvage ethnography to attribute meaning to events of the past. His projects empathize with communal historical experiences and attempt to make sense of the present through a re-­‐exploration of a common history.

imageJason Kofke, Audio, graphite on paper

imageJason Kofke, Video, graphite on paper

This suite of works is derived from the artist’s inventory of images. Source images that convey beauty are juxtaposed with those that convey terror; images of historical incidents and contemporary events are intended to create a sense of context. As the subjects are mixed, so too are the media comprising the works: Traditional drawing media is mixed with color experiments from a Xerox machine and Xylene markers blend on vintage graph paper. Old media is always a substrate of the new.

imageJason Kofke, Iran Airbus 655, pen, marker, Xerox on grid paper

Molly Rose Freeman | CONTINUUM

The Creatives Project resident, Molly Rose Freeman uses pattern as a lens to explore the dynamic framework of interconnectivity. With a foundation in freehand drawing, she builds diverse compositions using geometric forms, exploring the relationships that exist from the microscopic to the galactic.


Molly Rose Freeman, Amanita Muscaria, india ink and acrylic on toned paper

Inspired by sacred design and ornamentation in religious architecture, she paints large-scale public works as an investigation of how principles of geometry and repetition can be used to synthesize similar spaces of heightened consciousness within the urban landscape. When Freeman creates public works, she seeks out the distinctive pulse of each space in the service of activating its spiritually transformative properties.


Molly Rose Freeman, What’s This Thing Between Us, white charcoal and india ink on toned paper


We met with Molly in her TCP studio at the Goat Farm as she was finishing up works for Friday’s CONTINUUM Exhibition.

I have alot of paintings left over from “Hourglass" and from other bodies of work that have one or two levels of an underpainting pattern. Previously that would have been a stopping point for me. However, I’m working with the idea now of pushing the process further and superimposing non related patterns on top of each, finding a way to connect them, and then excavating different shapes out of them to create a solid contour around the forms, as opposed to just a solid plane of pattern.


A work in progress at Freeman’s studio and one completed below.

It’s alot of painting and destroying, painting and destroying—it’s exciting. It’s reminding me of a very important part of painting, which is to not get to married to one element of it. Like, “Oh I love this part of it,” but maybe that part doesn’t serve the larger purpose. I’ve felt much more of the push and pull for the last couple of weeks since working on them. It is reinvigorating me! I’m not one to just let things sit around and collect dust, so now that my brian has kind of switched over I have a different perspective. It’s no longer that I have fourteen left over paintings from “Hourglass"… I have fourteen half finished pieces I can continue to work on as a starting point.

imageMolly Rose Freeman, Our Phase as of Now, latex and acrylic on canvas

Charlie Watts | CONTINUUM

Charlie Watts entered The Creatives Project's residency in 2013. This August she completed the program on a great note as she headed out wes for grad school where she currently attends San Francisco Art Institute. We are happy to have her back home to share some of her recent works, if only for a minute.
imageCharlie Watts, Water x, archival mounted inkjet print
A recurrent theme throughout my portfolio and background as an artist is the idea of woman as the life force, literally the bearer of life, despite the limiting—and sometimes suffocating — expectations that society imposes on her. My connection to women as refuge is a natural consequence of my life experiences, where the expectations of men too often have taken precedence over my desires to be an independent person and artist. Therefore, I create work that is feminine in both its nature and subject, work that acts as a safeguard against masculine forces that I am encountering on my journey to defining my identity as a woman and artist. The photographs that I’m currently creating are helping me better understand my relationships to other women—and men, too.
Charlie Watts, Water ix, archival mounted inkjet print
Day to day, most people see only what is directly in front of them. They make little room for anything that is mysterious, unexplainable, or even fantastical. Just as my photos attempt to allow women to expand beyond traditional roles, they seek to guide viewers towards a fuller life by embracing the subconscious, which is captured through the camera lens. At the genesis of my photographic practice is an urge to create images that transcend this world to capture a fuller experience of being alive, where all of us can step beyond what is expected to embrace the unknown. This latest series, intertwined with my earlier fairytale-based works, returns to the theme of solidarity among women. An undercurrent to these artistic statements on feminism—and in the broader sense, humanism—is the elevation of the need to fully embrace life.

imageCharlie Watts, Sisters iii, archival mounted inkjet print

No one can explain the mysteries steaming through this life. I can’t rule out the more magical elements just because they can’t be explained - just because we are told to hang up our imagination as we age. While on top of a mountain in North Georgia at The Hambidge Center for Creative Arts & Sciences, I experienced a series of sights that defy description. Coincidence can’t even begin to encapsulate my experience during this residency.For the sake of not sounding insane, I will not go into great detail but I felt those mountains really had a story to tell and one could sense how sacred that space was. Most of the images in this body of work: “Just Past the Peripheral” resulted from this time of meditation and isolation. They will continue to expand and grow as my exploration of art continues and as I try to not just live not only on this earth but beyond this plane of existence.

Angus Galloway | CONTINUUM

Yesterday The Creatives Project had the pleasure of giving a tour of our resident studios located at the Goat Farm Arts Center to a pretty amazing group from the High Museum of Art. -hence this post is a day late ;)

TCP Resident Angus Galloway was is the midst of his install so we dropped by while he took a few moments to talk about his work with our guests.


My work has always been generated by an interest in pushing the materials, the surfaces, and my mark. For the last 5 years I have focused on drawing with various types of paper, media, and tools. I love that drawing is the visual result of a physical action and I use this basic idea as the premise to forge a dialogue between the implement in my hand and the paper. 

In the series exhibited here I start the drawing by blindly activating the surface of the paper with lines, textures, and shapes. To do this I place a layer of graphite transfer paper under a cover sheet so that any pressure I make upon the transfer paper presses graphite onto the drawing surface. My goal is to capture direct and unfiltered marks, so I use implements that leave no trace on the coversheet. Because I cannot see the marks transferred onto the paper I am able to respond freely and honestly to the impulses that compel my hand in that moment. I take great joy in removing the transfer paper and seeing what occurred during the period of unfiltered mark making. This initial network of marks is faint but dense and provides a seemingly disorganized structure that is ready to move and direct the drawing in new and unexpected ways. The fun, albeit time intensive, component of the process begins as I excavate a cohesive drawing from the confusion that greets me when I remove the transfer paper.


Angus Galloway, Circle #4, Graphite on paper, 30 x 22.5 inches


About his installation process he shares:

I am using graphite transfer paper to transfer marks onto the wall directly. I cannot see the lines going on the wall because I use tools that leave no trace. By incorporating an element of chance into the beginning stages of my process I stay in the present as the drawing comes to life.



The Creatives Project and The Goat Farm Arts Center prepare for CONTINUUM

Every year The Creatives Project welcomes a new group of local talent to take part in one of our two year residencies AND each October we share their progress with the community! 

This week our current residents prepare for TCP’s annual exhibition. Over the next few days you will get a glimpse of what these artists have in store for the Friday Oct 10th show taking place at The Goat Farm Arts Center.

Thanks for the curation invite Burnaway! 

-Neda | The Creatives Project, Executive Director

imageTCP’s newest residents: Megan Mosholder, Namwon Choi, and Spencer Murrill. read the BURNAWAY announcement here.

#themocaga #meganhuntz #atlantafashion http://ift.tt/1puKGFW

#themocaga #atlantafashion #meganhuntz http://ift.tt/1vfEOnr