Casey Arguelles Gregory
Have It All

Have It All is my most personal exhibition to date. All of the works in this show attempt to reconcile my own experiences as an artist with my experiences as an average, thirty-something mother with a part-time job. Issues as diverse as feminism, gentrification, middle-class materialism and the sometimes contradictory physical landscape of suburbia are on offer here. The exhibition unites sculpture and painting in a variety of modes, all of which are firmly rooted in my process-based practice. 

Through these different approaches to artmaking, I hope to present a broad, humane, and sometimes humorous investigation of what it means to be a young (ish), emerging (ish), female artist in this specific time and place. These works, individually but especially collectively, represent a radical descent from the thirty-thousand foot academic perspective that I have traditionally taken. They are of, and about, my own life- an autobiographical offering in which I hope you the viewer will find some glimpses of the familiar.

Bill Hailey
Sumatran Paintings and Anti-Fascist Still Lifes

"A poet is someone who stands outside in the rain hoping to be struck by lightning."
- Blackbeard

Abandoned at birth, Bill Hailey was raised in Asia by missionaries. After dropping out of Baylor University to pursue a burgeoning career in Japanese sushi porn that was tragically cut short in a freak on-set accident, he joined the Royal Army of the Dutch Indies as a mercenary and was stationed in Sumatra.

There he promptly deserted and vanished into the jungle. He resurfaced after nine months in Texas, where he authored the award-winning series of children's books The Firecracker Eaters.

After dabbling in anarchism and door-to-door Bible sales he subsequently reinvented himself as an artist, and is currently at work on a series of overripe tropical fantasies, The Sumatran Paintings, as well as a series of Anti-Fascist Fleurs du Mal (Flowers of Evil) still lifes, and post-election Clusterfux.

Moving ever closer to realizing his dream of starting a pagan love cult in the jungles of South America, his sensibility can be succinctly summed up in the song of the incorrigible prankster Nero during the Great Fire of Rome  in 64 AD:

"What shall I love if not the enigma? Between living and dreaming there is a third thing.
At a certain point attitude is all we have left and  if you can read this it may already too late."
Valyntina Grenier

painting, drawing, encaustic, installation art, and neon

I make joyful 2D and installation art to counter cruelty in the world by creating lighthearted environments in which to contemplate politically charged imagery. I have learned to embrace accidents as moments of innovation and progress.

I wouldn’t paint the way I do if I hadn’t studied poetry. I earned a BA in English at The University of California, Berkeley, and an MFA in poetry at St. Mary’s College, California. My undergraduate studies introduced me to art as an agent of social change, but poetry really taught me to think (allegorically, symbolically, metaphorically). My art is on the side of life that insists, “Don’t Shoot.”

At the same time, I am compelled to fulfill art’s potential to serve as a form of protest. BOTH AND, a series of trans images, is at an intersection of feminism, reproductive health, and lgbtq equality. My initial drawings for the series, a subconscious response to my formerly repressed homosexuality, were made during recovery from a surgery to diagnose endometriosis (I have since had a radical hysterectomy).

As a woman and a lesbian, in a culture that presupposes procreation, I feel that my purpose is to make art that inspires tenderness, compassion, and empathy.

'Both And' 36" x 36" pure pigment and acrylic paint by Valyntina Grenier

Jeff Wheeler

I think whatever you have, you can do wonders with it, if you accept it  One should not worry so much about innovations if it is possible to deal so directly with experience. The objects [I chose] are used to make art, just like paint is used to make art.  I am for art that embroils itself with everyday crap and still comes out on top.  

The relationships may be the subject matter, the relationships of the fragments I do.  The content will be something more, gained from the relationships. I am for art that embroils itself with everyday crap and still comes out on top.  

I am from the West Texas landscape and it is my stage.  It’s a way for me to make a painting that I hope is beautiful, and something that I am familiar with so I can concentrate on the painting itself. My Art springs from my desire to have things in the world which would otherwise never be there. Sometimes I see it and then paint it…other times I paint it and then see it. When we are giving up, today, the illusion of space in a picture, that doesn’t suit me.  I don’t know what else there is.  It’s really something if you can get a visual sensation that is pleasurable, or worth looking at, or enjoyable, if you can just make something worth looking at.  What the artist says it is, you can see by his work.  I would like to leave it just like that.


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