CHERYL SORG I TO REACH THE CLOUDS

TO REACH THE CLOUDS

The Hill Street Country Club presents recent works

by Cheryl Sorg

Q & A artist

Can you go into the meaning / inspiration behind your tape artwork?

I keep becoming more and more and more intensely aware of just how shit the world is - racism, misogyny, sex trafficking, poverty, corruption in power, mass incarceration, etc. etc. etc., all of it. Just shit. And somehow working with the vibrant color injects a bit of cheer (hope?) into all of it for me. It certainly doesn’t improve it, or necessarily generate any change at all, but it gives me pleasure, and as simplistic as this may sound, the hope is that it will do the same for someone else as well.

TAYLOR CHAPIN I REAL BIG DEALS

REAL BIG DEALS

The Hill Street Country Club presents recent works

by Taylor Chapin

Q & A artist

What are your biggest challenges to creating art and how do you deal with them? How do you navigate the art world?

I often find myself pulled in so many directions as a young, emerging artist. It’s easy for me to feel overwhelmed by the amount of feedback and opinions I receive on what I should be doing and how I should be doing it. I am at a point in my career where I have to wear a lot of different hats to make ends meet. I struggle with balancing commissions, feedback from others, and making my own work. Creating my own work is a priority, and this requires a consistent awareness of allocating time. I often feel pressure to please others and to “paint what sells”, and I have to make an active effort to avoid falling into this trap and make sure my own practice is truly and honestly expressing my own interests and desires.
I feel like I’m just starting to learn how to navigate the art world. I am on the front end of my career, so I feel like first and foremost, I am trying to get exposure for my work. This being the case, right now I say yes to every opportunity that comes my way because each opportunity is a chance to learn and share my work with others. I find that through each experience into the various offerings of the art world, I learn a little bit more about how I want to navigate the art world going forward.

DANA TRIPPE I SCI-FEMME

SCI-FEMME

The Hill Street Country Club presents recent works

by Dana Trippe

Dana Trippe is a local photographer branching into the Sci-Fi elements of creative expression through photography. Her work has been featured in galleries locally and at the national level, collaborating with musicians more recently for flyers, album covers and more.

Q & A artist

How did you begin working with photography?

My dad was always building me and my sisters the most creative and elaborate things throughout our childhood. The one that always stuck out was the indoor treehouse that took over my sisters entire room. He paper mached the outside so it looked like a real tree. They could sleep up top, and even had a bucket with a pulley system so they could transfer things to the top of the tree from below. That’s just one thing of MANY. He was the coolest dad.

MARIKATE DOUGAN I SHAPE OF A WOMAN

SHAPE OF A WOMAN

The Hill Street Country Club presents recent works

by Marikate Dougan

Shape of a Woman features a curated selection of work created by local artist, Marikate Dougan. With her elements of color and the human form, she resonates her experience as a woman in the visual form.

CARRIE MINIKEL I THIS

THIS

The Hill Street Country Club presents recent works

by Carrie Minikel

What does this experience offer to your artistic career?

This opportunity allowed me to work on a larger scale than I normally do, and take a risk using unfamiliar methods.

THIS will be An Exhibition focus on Carrie Minikel’s acceptance of mortality.

What inspires your work?

I’m fascinated by how we aren’t our bodies but our bodies are ours. How they are expressions of us, tools, a medium through which we experience the world and often a large part of our identities. We are also trapped in them and increasingly limited by them as we age. As I watch my daughter grow, and my parents age, I am increasingly aware of my own mortality - it is becoming a palpable presence. This piece is about sitting with the solidity and gravity of that in a physical form, and on some level, accepting it. This truth we share in common is a great perpective-giver. It is larger than me, too big and unwieldy for me to control and somehow beautiful.