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Strangers Collective's art space, NO LAND, features solo and small group exhibitions by artists, writers and performers. Dedicated to those ready to take the next step in their careers, NO LAND invites emerging artists to develop and show complete bodies of work. The space is located at 54 1/2 E. San Francisco Street #7 on the Santa Fe Plaza. Visit NO LAND on Saturdays from 12 - 4pm, or by appointment.

Upcoming Events | GARLIC Workshops / register here
Dates | 1/27 (printmaking) & 2/8 (paper making)


Current

Liz Brindley
GARLIC

NO LAND
54 1/2 E. San Francisco St. #7
January 13-March 10, 2018

Events
Opening Reception: Saturday, January 13, 6-9 pm
Printmaking Workshop: Saturday, January 27, 1-3 pm
Paper Making Workshop: Thursday, February 8, 7-9 pm
Morning Coffee: Monday, February 19th, 9-11 am
Closing Reception & Recipe Swap: Saturday, March 10th, 6-9 pm

“At the end of the day, I just want to be covered in ink and soil,” Liz Brindley says. This may not be too difficult a feat when you take into account how many hats she wears on a weekly basis: farmer, artist, writer, art educator, printmaker, community organizer. No Land’s next exhibition is Garlic, an artist residency that incorporates all facets of Brindley’s practice as a creator, educator, and cultivator.  Opening with an artist reception on Saturday, January 13th from 6-9 pm, Garlic features Brindley’s drawings, prints, a wall-sized mural, and installations of garlic skins, soil, and a kitchen-like space. Through Garlic’s two-month run time, Brindley will host workshops and other events at No Land centered on both art-making and food, hoping to provide spaces for honest dialogue about local agriculture, food justice and creativity.

You should hear Liz Brindley talk about garlic. “It’s so underappreciated,” she says. “It’s in just about everything we eat, and yet it’s so precious.” As garlic is planted in autumn, it grows underground through the winter until harvest in early summer. Of all that is harvested, half of the crop gets replanted when fall comes again. To Brindley, this precious practice of cultivating garlic is the perfect metaphor for the naturally occurring cycles within people that we tend to ignore. “You know, humans are supposed to follow the cycles of the seasons, too,” Brindley points out. “The land slows down and rests in the winter, and maybe this is also a time for us to slow down and reflect.” 

This past fall, right around the time that garlic-planting season was beginning, she discovered The Garlic Testament by local farmer and author Stanley Crawford. She credits this book for awakening a new fascination with the vegetable. As a tribute to it, Brindley and No Land will put out an open call for more used garlic skins, which will be integrated into an installation within the gallery, and later in a paper-making workshop on Thursday, February 8th that will incorporate the skins into the fiber of the paper. 

Born in Oklahoma City, Brindley went to school at St Olaf College in Northfield, Minnesota, where she studied photography and printmaking and majored in Studio Art and Art History. After graduating in 2015, she undertook a nine-month artist residency through the school that saw her exploring her connection with land and food through installation and performance.  In 2016, after finishing school, Brindley landed in Santa Fe after travelling down the West Coast. She quickly became involved with Santa Fe’s agricultural community, working at various farms and as a farmer’s assistant at the Santa Fe Farmers’ Market. Last year after the presidential election, Brindley started the Creative Activists Network, seeking to foster connections between creatives in order to promote equality, justice and positive social change through collaboration. “It feels good to put roots down,” she says; “to build something that I hope will connect people to the land through creative practice, and to each other through dialogue about food and art. I still have a lot to learn here.”

Central to Brindley’s practice is her background in education. Her recently developed printmaking workshops – which she’s developed this spring and turned into her own business, Prints & Plants – involve the printing of cross-sections of produce found at the Santa Fe Farmers’ Market. Brindley will direct a similar workshop at No Land on Saturday, January 27th. 

Brindley ultimately hopes to bring this kind of art-making to people outside of the local agricultural community, and art community for that matter.  Her collaborative spirit is vital to her notion of how artists, and everyday people, can change the world. “How do we reacquaint ourselves with and learn to see the value in things that are here every day,” she wonders, “before we can’t take them for granted anymore?” 



Workshops

Relief Printmaking

$30 | 2 hours

Learn the process of relief printmaking in this hands-on workshop where you will learn to carve your own veggie-inspired stamp and create a series of prints to take home.

Papermaking

$30 | 2 hours

Learn how to make paper using recycled materials and garlic skins! The paper we create will be used as recipe cards to take home and give away at the "Garlic" Closing Reception.


Artist Statement

“One of the singular characteristics of garlic is that it makes you wait.” 

- Stanley Crawford, A Garlic Testament

Garlic. The foundation of any nourishing meal. The ubiquitous nature of this produce shadows the time and energy required for its growth. One clove planted in the fall hibernates beneath frozen ground for seven to nine months to create a head of ten, maybe fifteen, cloves. Compare this to a single tomato seed that takes approximately three months to produce fruit that, when cut open, can provide hundreds of seeds. Garlic takes its time. It makes us wait. It teaches us patience and serves as a mirror for how to move inward in our own lives, shed old layers, and grow ourselves.

Garlic shares the quiet beauty of this essential veggie through the spaciousness that comes with waiting to create moments of peaceful reflection and faith. Can we dive deep to ask ourselves who we truly are and who we are becoming? Can we rest into the discomfort of unknowns until they become comfortable? Can we slow down to trust that, after all of the silence, harvest will come and with it, answers?


Bio

Liz Brindley is a Santa Fe printmaker and illustrator who makes artwork about food to increase awareness of the interconnection of humans and the land. Liz owns and operates Prints & Plants, a mobile art and ecology workshop that travels around New Mexico to teach about local agriculture through printmaking and drawing activities. 

Liz received her BA in Studio Art and Art History at St. Olaf College in Northfield, Minnesota in 2015. She went on to participate in an Emerging Artist Residency at St. Olaf where she focused on ecologically-centered participatory and performance art. She moved to Santa Fe in 2016 after dreaming of living here since she was a kid. In Santa Fe, her artwork has been shown at Warehouse 21, Show Pony, and numerous pop-up markets.

website.


Upcoming

Nate Masse, On Polyamory (detail), mixed media, 57.5 x 55″, 2013-2018

Nate Masse, On Polyamory (detail), mixed media, 57.5 x 55″, 2013-2018

Mirror Box

A group exhibition by Strangers Collective
at form & concept
.

form & concept
435 S. Guadalupe St.
February 23 – April 14, 2018

Events
Opening Reception: Friday, 2/23, 5-8 pm | RSVP on Facebook
Curator & Artist TalkSaturday, 3/17, 2-3 pm | RSVP on Facebook
Closing Performance by Emmaly Wiederholt: Saturday, 4/14, 7 pm | RSVP on Facebook

Kyle Farrell, Alex Gill and Jordan Eddy, co-directors of Strangers Collective and the No Land art space, curate this exhibition of emerging artists and writers at form & concept. Mirror Box represents a network of early career creatives, starting in Santa Fe and spiraling across the nation. Its curatorial throughline presents a radical method for reflecting on place and identity through art objects.

The term “mirror box” originates in the medical field: Vilayanur S. Ramachandran invented the box with two back-to-back mirrors in the center to help amputees manage phantom limb pain. The patient places the “good” limb into one side, and the “residual” limb into the other, making mirrored movements that can trick the brain into believing that it’s moving the phantom limb. “It’s a tribute to the incredible power of grey matter,” says Eddy. “If our minds are capable of conjuring a nervous system from thin air, can we link up with people, places or things in the same visceral but invisible way?” The curatorial team realized that art, like the mirror box, can act as a conduit for this type of transcendent—but also highly tangible—experience.

“As we turned over the idea of a ‘mirror box’ in conversation, its meaning evolved to represent a sort of theoretical art object,” says Farrell. “If you imagine a cube made from mirrors floating in a landscape, it reflects you and your surroundings across six different planes. By peering into it, you begin view identity and place in novel ways.” The show’s participants interact with the world in a similar fashion, reflecting, filtering and distorting their varied contexts to create visions of the world that are requisitely imbued with their own experiences.

Photographer Emily Mason makes images of her surroundings, collages them onto sculptural props, and photographs the finished assemblages to create images that flicker between dimensionality and abstraction. Painter Nate Masse creates layered figurative compositions that compress visual details from multiple moments into a single, sensuous image. Sculptor Julie Slattery shapes talismanic objects—in this case, enormous bird skulls—that become emotional reliquaries for specific events in her life.

“The artworks and zines are mapping out this ‘complete picture’ of an experience,” says Gill. “We’re asserting that fully realized artistic expression can communicate something truer than, say, a hasty smartphone snapshot of a particular person or place.” In an increasingly polarized world, it’s a radical act of empathy to dive through the looking glass.

Click here for a preview of Mirror Box on the form & concept blog.

Art by Kevin Bond, Emily Mason & Derek Chan.

Participating Artists

Kevin Bond, Derek Chan, Kyle Farrell, Alex Gill, Erin Gould, Julia Haywood, Kat Kinnick, Shannon Latham, Emily Mason, Nate Masse, Drew MC, David O’Brien, Sarah Palmeri, Alicia Piller, Julie Slattery, Stephanie Thompson, Dion Valdez, Emmaly Wiederholt, Ona Yopack, Liz Brindley

Participating Writers

Caryn Crimmel, Melissa Dow, Jordan Eddy, Juro Gagne, Jess Haring, Katie Johnson, Shannon Latham, Israel Francisco Haros Lopez, Erica Nguyen, Yvette Serrano, Bucket Siler, Stephanie Thompson, Charlotte Thurman, Emmaly Wiederholt, Rachelle Woods, Michael Wilson, Liz Brindley

form & concept

form & concept is an art gallery founded to expand and explore the boundaries of perceived distinctions between art, craft, and design. We believe that these realms are interdependent and form the nexus of creativity in today’s world. Our programming acts as a conversation between these disciplines, supporting contemporary creative practice through exhibitions of regional and international artists. form & concept serves the community through its educational programming by producing artist residencies, workshops, lectures, and other outreach programs.

website.