Julie Lyn Barber
Literary Arts; Performing Arts: Actor/Actress, Dance, Music, Theatre, Vocal
Dr. Barber is an Assistant Professor in the Department of Theatre and Dance at Western Kentucky University. She has received IAC grants to perform with the Hot Jazz Preservation Society in Indiana State Parks, and to write and produce a new musical, Indiana Squirrel Stampede and two new children’s plays, The Elves and the Shoemaker and The Frog Prince. She has written many stage adaptations of fairy tales in the British panto style, which have been produced locally at the Minnetrista Faeries Sprites and Lights Festival (Muncie, IN), Nettle Creek Players (Hagerstown, IN) and IndyFringe (Indianapolis, IN). Two of her plays have won inclusion in the juried festival, DivaFest of Indianapolis: the ten-minute fable, Tamlane, and the one-act musical parody, Madwomen’s Late Nite Cabaret.
As a stage director, her experience ranges from opera to children’s theatre, directing outreach productions for the Bloomington Early Music Festival of Indiana, and the Marjorie Lawrence Opera Theatre in Carbondale, IL. Other directing credits include Working (American Heritage Theater Project, Portland, OR), Clue: The Musical (Farmland Dinner Theatre, Farmland, IN), and Guys and Dolls (Western Kentucky University, Bowling Green, KY)
She has served as music director and choreographer for many schools and theatre companies in Oregon (American Heritage Theater Project, Cathedral School, Valley Catholic High School) and Indiana (Taylor Theatre, Muncie Civic Theatre, Monroe Central High School, Farmland Dinner Theatre), recently music directing Guys and Dolls at the Round Barn Theatre in Nappanee, IN, and choreographing The 25th Annual Putnam County Spelling Bee at Western Kentucky University.
She is an AEA membership candidate, and has performed the role of “Berenice” in Cabaret Poe every October since 2009 with Q Artistry (Indianapolis, IN). She has played numerous roles in theatre and musical theatre productions in Canada and the United States, including Vancouver B.C.’s Theatre Under the Stars, Portland Oregon’s Northwest Classical Theatre Company, and Portland Center Stage. While in Portland, she co-founded the American Heritage Theater Project.
Jasmine Iona Brown
Visual Arts: Constructions/Collage
I like to tackle political and cultural themes in my work. I seek to create art that involves diverse views and serves as a vehical for contemplation of life’s complexities.
Visual Arts: Works on paper
My work explores issues of peace and justice through reconciliation. I continually establish my own creative identity through an exploration of personal history through which displacement and loss are core issues.
Visual Arts: Sculpture, Textiles
Most of my youth was spent hiding: early on in closets and under the bed, later in the woods by the creek. It was safer there. When I discovered that clothing could be used as disguise, I hid behind the facade of fashion. Upon returning to the academy after years of professional life, I stumbled upon the notion that clothing can serve as a masquerade that simultaneously conceals and reveals. From then on I have felt compelled to explore the slippery realm of clothing codes. My work investigates issues of the identity construction and the commodity self through a lens I call sartorial semiotics. Clothing operates on many levels, from the intimate relationship with the body to ubiquitous article of mass consumption. During the everyday practice of getting dressed, a negotiation transpires as one’s “self” is hidden and displayed by the clothing worn. This creates an ambiguous space where one becomes both consumer and consumed as these choices elicit judgments from others regarding moral character, social status, and even intellect. Most recently my lens has turned toward the deeper issue of compliance vs. resistance in an age of ever-eroding privacy. From hand-me-downs to haute couture there exist clothing codes that can operate to affirm the status quo or signal dissent, making the wrong “outfit” as dangerous now as it has always been.
Visual Arts: Earthworks, Photography, Sculpture, Textiles
“Our greatest masquerade is that we believe we do not depend on the soil, water and air; that somehow we exist out of Wal-Mart’s. It is a great naiveté that technology, or perhaps even civilization, has convinced us that we are separate from nature. The need to understand American culture and politics and explain the histories behind the myths about nature and social norms that are integral to environmental concerns motivate my art making. The nature I have grown up in is contrived, polluted, mutated, and is usually experienced through and by boundaries. I want to explore nature in a myriad of ways that may not be natural at all. By creating an inverted forest and tending to a field of dandelions the fantasies of these installations may not be far fetched. I continue to explore the imposition of my hand, as a creator and an American consumer, and how I can influence the world around me. With the multiplicity of hands, minds, and ideas the consequence of our actions is hard to predict. These routes and paths are created or chosen, whether deliberately abrupt or at the disposal of the winds, eventually intersections will occur and it is ultimately these moments of collision that I am fascinated with.” Desiree Moore
Visual Arts: Painting, Printmaking, Works on paper
My earlier still life paintings focused on simple objects like folding chairs, umbrellas, broken toys, or paper airplanes. These objects were painted directly from life as they lay on the studio floor. The goal was that the works be visually pleasing and enjoyable in the formal sense, emphasizing process and the tactile qualities of paint as opposed to taking a photorealistic approach to the subject matter. My recent work draws from mass media images of the chaos that is so much a part of life in the modern world. Again the goal is to make works that are visually pleasing and enjoyable in the formal sense, utilizing low resolution news clippings as a point of departure for painterly invention. These paintings explore present and pending natural disasters, war, and the general indiscretion of man in the search for redemption.
Performing Arts: Actor/Actress, Storytelling, Theatre
“A dynamic actor with numerous professional credits, I specialize in bringing historical characters to life, blending humor with pathos in my portrayals. Travel back to the 18th or 19th century in my fast-paced, engaging, uproarious and dramatic portrayals which depict these beloved Hoosier figures’ colorful paths to national significance!”
J. Andrew Salyer
Visual Arts: Illustration, New Media/Technology
Sayler is one part of the collaborative entity called Langue. Langue is a multidisciplinary and experimental effort that creates a dialogue about the openings that lie between tongue and being.
Visual Arts: Film, Photography, Printmaking
To see through someone else’s eyes is transformative. The experience imposes an empathetic bond, even on the unwitting (or unwilling) observer. The shared experience forges an immutable bond between subject and object that subverts the notion of difference between observer and observed. When you see through someone else’s eyes, the distinction between self and other melts away. You become her, she becomes he, and they become we. The only object left is the absurdity of making such an artificial distinction.
My personal art is meant to impose a subversion of difference. I aim to challenge others with not just my individual view, but with their inability to avoid sharing it, regardless of bent or wont.
I am fascinated by all the different ways people observe one another. Sometimes we glance, or look, or analyze, or criticize. We catch eyes. It seems we’re prone as people to gaze on others, yet we seldom see the people upon which we cast our eyes.
So what’s the difference between seeing and gazing? To me, seeing is an act of empathy, an effort to understand. A gaze imposes value on the observed.
A man’s gaze in relation to feminist theory is unbalanced. A man’s unwanted gaze upon a woman pretends at quantifying a woman’s aesthetic value. But what is communicated and what each perceives is different. Each is misunderstood.
Our culture has trained woman to conflate her aesthetic value (itself arbitrary and subject to the whims of culture) with her humanity. Through this polite deception, even a woman who personifies contemporary western notions of female beauty, and who at first blush seems to enjoy being gazed upon by men, is inescapably subjugated by it. Her gaze is incapable of the same impact. It responds. She is defined by he, while he is impervious.
As for me, I focus my gaze not on men, or women, or subjects and objects. I focus my gaze on the way they interact with one another. While I can’t help but gaze, if we share a perspective, I believe we can teach one another to see.
Visual Arts: Illustration, Murals, Painting, Photography, Visual Arts Instructor, Works on paper
I started drawing at a young age in Canada when my parents were looking at antiques. The stores up there often provided colouring books, but, as fate would have it, they were pretty much used up by the time we came by. So I was often given blank sheets of paper. Due to much moving around, it was hard to maintain friends, and in Canada, where summer lasted a day or two, it was easier to make up friends, draw, and create. When I moved back to the US, we had moved to Florida, where I was socially inept. I did finally make a freind or two, some were just because of Geographical Locations. My comfort and sanity remained in creative expressions. I took a Hyatus with the brith of my daughter as the art world demands much time and attention. Now, as she has grown older, I am venturing out once again.
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