The Operating System and Liminal Lab

I created a three-dimensional Neo-Gothic altarpiece that would summon the great altarpieces of the past. The Saint Sebastian Altarpiece utilizes 21st Century materials, such as foam board, which was used for the main structure. It was then covered in a handmade Thai gold paper. The saints were created by using manipulated images from various sources. By cutting the images and layering others I was able to create a new cohesive image.
The intention is to evoke an emotional response. Saint Sebastian is shown laying on the steps of a building while in the background you can see evidence of the martyring. The bust of the Emperor Diocletian stands near by. The four devotional Saints, Saint Peter, Saint Joan of Arc, Saint John the Baptist and Saint Anthony holding the baby Jesus are shown with their traditional iconography. The work is a tribute to the classical artists of the past, particularly those artists of the Early Renaissance. This has been a wonderful journey.
website: http://cargocollective.com/stevepalermo
 
Sherry Aliberti with Jonathan Phelps (Brooklyn, NY)

New and ever changing forms dance in color and light, in the video piece “Entrance of the Spirit Cocoon,” an inter-dimensional transformation. The Church, a holy place of spiritual energy aligns with a higher plane of consciousness to grant these otherworldly Cocoons entrance into our dimension.
The Cocoon Project creates interactive performance art and colorful temporary installations with the Cocoon. Performers use gestures, poses and noises to express ideas about form, shape and movement in space and memory. Utilizing lights, projections and fragrances, the experience is different every time. Influenced by Martha Graham and Ernesto Neto a fabric enclosure provides freedom for the performer/muse to become a morphing sculpture. Structurally, these postures represent a scale model of an architecture and materiality based on the forces of the body.
website: http://www.sherryaliberti.com/

Roger Geier (New York, NY)

 
 
 
 
 
 
 
 
 
 
 
 
 
I have chosen to address the topic of “frenzy into folly” with the dynamic of the group, and the madness of crowds, the heedless following; and forward march of an idea, even in the service of an ideal, which devolves into one of folly towards oblivion and entropy.

The figures march forward, bearing aloft a child’s arm which holds in it’s hand an olive branch. This is the dream and the folly of peace, which moves forward without the hope or the promise of success, bearing aloft an ideal in a frenzy of hope and aspiration.

Carrie Elston Tunick (New York, NY)
My work explores the discord between the way one feels and the way one behaves. When emotion becomes divorced from its context it produces a reaction that is nonsensical and seemingly erratic. I fracture pieces of the body to dislocate the gesture and disrupt its meaning. This disruption opens up new paths of communication, where emotion and action are no longer in concert, and therefore are free to recombine in a myriad of ways. There is an abject quality to my work, where disfigurement is struggling to be beautiful, or in search of redemption despite its pathetic state. Through my art I try to create an internal experience within the external world. In Trimming, Tearing, Tangling, I am exploring the act of pulling hair as gesture loaded with multiple intentions, such as flirtation, aggravation, grooming, and familiarity. My work often explores various gestures that are loaded with multiple meanings of human interaction and emotion.