ODETTA Mixed Media

Linda Turner, raised both in NYC and Northern Virginia, resides in Brooklyn, NY. She achieved a BFA in Surface Design/Textile Design from the Fashion Inst...

Michele Brody, Drawing Roots: Free Fallling, Handmade Paper with Flax Roots, 18"h x 15"w x 1"d, 2017 The essence of Michele Brody’s work thrives on the interaction with new communi...

Michele Brody, Nature in Absentia: Cattails Plucked Out, Handmade Cast Paper The essence of Michele Brody’s work thrives on the interaction with n...

Michele Brody, Nature in Absentia: Cattails Plucked Out, Handmade Cast Paper The essence of Michele Brody’s work thrives on the interaction with n...

Michele Brody, Nature in Absentia: Cattails Plucked Out, Handmade Cast Paper The essence of Michele Brody’s work thrives on the interaction with n...

Michele Brody, America The Beautiful:For Amber Waves of Green, Handmade paper installation with Glass Tubes, 7'h x 5'w x 6'd, 2016 The essence of Michele Brody’s work thrives on th...

Barbara Hocker sees her life’s vocation as being an ambassador for the natural world through her art. Nature is facing many challenges right now. Hock...

Barbara Hocker sees her life’s vocation as being an ambassador for the natural world through her art. Nature is facing many challenges right now. Hock...

Barbara Hocker sees her life’s vocation as being an ambassador for the natural world through her art. Nature is facing many challenges right now. Hock...

Pioneer Activists is an ongoing series of artworks by Suzanne Benton. Consisting largely of monoprints with Chine collé where the artist references suffragists, feminists, writers and educators from the 19th century and beyond. These works embody the artist’s stellar theme of bringing past to present. Susan B. Anthony the Elder, monoprint with Chine collé, 18 ½ x 13 ¼ inches, 2020 From Wikipedia Susan B. Anthony (born Susan Anthony; February 15, 1820 – March 13, 1906) was an American social reformer and women's rights activist who played a pivotal role in the women's suffrage movement. Born into a Quaker family committed to social equality, she collected anti-slavery petitions at the age of 17. In 1856, she became the New York state agent for the American Anti-Slavery Society. In 1851, she met Elizabeth Cady Stanton, who became her lifelong friend and co-worker in social reform activities, primarily in the field of women's rights. In 1852, they founded the New York Women's State Temperance Society after Anthony was prevented from speaking at a temperance conference because she was female. In 1863, they founded the Women's Loyal National League, which conducted the largest petition drive in United States history...

These new small-scale paintings were created using gouache on handmade paper. Alexandra Rutsch Brock then “drew” with a sewing machine using various colored threads. Using the thread as a painted line, playing with the marks and motifs the machine allows that creates contrast in both surface and color. They are sewn directly with no preliminary sketches, just instinctive gesture, sometimes in a similar color to enhance a texture, other times contrasting as a new element. The entangled threads that dangle down emphasize the materiality. Working so closely to the surface, she is aware of the senses of seeing, breathing, touching and feeling……………escaping into these new surfaces. Alexandra Rutsch Brock has exhibited in solo and group shows most recently at The Keck School at USC, CA, The Painting Center, NY, Village West Gallery, NJ and Misericordia University, PA. Her work has been featured in Studio Visit Magazine SV Vol44. Her recent co-curations include “HyperAccumulators” with Elizabeth Saperstein at Pelham Art Center, NY and “Among Friends” project with artists Patricia Fabricant and Beth Dary...

Jo Yarrington has always been interested in chance and the found {moment, object, person}. How random experiences click in to place, form a narrative, reveal a truth. All the work ...

Jo Yarrington has always been interested in chance and the found {moment, object, person}. How random experiences click in to place, form a narrative, reveal a truth. All the work ...

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Y...

Nancy Baker creates paper constructions by combining digitally printed, hand and laser cut geometric forms loosely based on machine parts. Over time, the hardware imagery has evolved...

In Baker’s work, there is solace in the geometry of fundamentals, and a practice that focuses on the ephemeral nature of paper and the ease of its transportability, which allows her to create large-scale constructions. A desire for definitive certainties and incontrovertible truths in an era of “alternative facts”, precipitate the need for Baker to assert her clarification of evidence. A new major installation has been created for her exhibition at ODETTA that layers baroque design elements found in paper cup carrying trays with anxiety-provoking phrases, rendered as gorgeous, yet fragile paper spheres...

In Baker’s work, there is solace in the geometry of fundamentals, and a practice that focuses on the ephemeral nature of paper and the ease of its transportability, which allows her to create large-scale constructions. A desire for definitive certainties and incontrovertible truths in an era of “alternative facts”, precipitate the need for Baker to assert her clarification of evidence. A new major installation has been created for her exhibition at ODETTA that layers baroque design elements found in paper cup carrying trays with anxiety-provoking phrases, rendered as gorgeous, yet fragile paper spheres...

In Baker’s work, there is solace in the geometry of fundamentals, and a practice that focuses on the ephemeral nature of paper and the ease of its transportability, which allows her to create large-scale constructions. A desire for definitive certainties and incontrovertible truths in an era of “alternative facts”, precipitate the need for Baker to assert her clarification of evidence. A new major installation has been created for her exhibition at ODETTA that layers baroque design elements found in paper cup carrying trays with anxiety-provoking phrases, rendered as gorgeous, yet fragile paper spheres...

In Baker’s work, there is solace in the geometry of fundamentals, and a practice that focuses on the ephemeral nature of paper and the ease of its transportability, which allows her to create large-scale constructions. A desire for definitive certainties and incontrovertible truths in an era of “alternative facts”, precipitate the need for Baker to assert her clarification of evidence. A new major installation has been created for her exhibition at ODETTA that layers baroque design elements found in paper cup carrying trays with anxiety-provoking phrases, rendered as gorgeous, yet fragile paper spheres...

In Baker’s work, there is solace in the geometry of fundamentals, and a practice that focuses on the ephemeral nature of paper and the ease of its transportability, which allows her to create large-scale constructions. A desire for definitive certainties and incontrovertible truths in an era of “alternative facts”, precipitate the need for Baker to assert her clarification of evidence. A new major installation has been created for her exhibition at ODETTA that layers baroque design elements found in paper cup carrying trays with anxiety-provoking phrases, rendered as gorgeous, yet fragile paper spheres...

In Baker’s work, there is solace in the geometry of fundamentals, and a practice that focuses on the ephemeral nature of paper and the ease of its transportability, which allows her to create large-scale constructions. A desire for definitive certainties and incontrovertible truths in an era of “alternative facts”, precipitate the need for Baker to assert her clarification of evidence. A new major installation has been created for her exhibition at ODETTA that layers baroque design elements found in paper cup carrying trays with anxiety-provoking phrases, rendered as gorgeous, yet fragile paper spheres...

In Baker’s work, there is solace in the geometry of fundamentals, and a practice that focuses on the ephemeral nature of paper and the ease of its transportability, which allows her to create large-scale constructions. A desire for definitive certainties and incontrovertible truths in an era of “alternative facts”, precipitate the need for Baker to assert her clarification of evidence. A new major installation has been created for her exhibition at ODETTA that layers baroque design elements found in paper cup carrying trays with anxiety-provoking phrases, rendered as gorgeous, yet fragile paper spheres...

In Baker’s work, there is solace in the geometry of fundamentals, and a practice that focuses on the ephemeral nature of paper and the ease of its transportability, which allows her to create large-scale constructions. A desire for definitive certainties and incontrovertible truths in an era of “alternative facts”, precipitate the need for Baker to assert her clarification of evidence. A new major installation has been created for her exhibition at ODETTA that layers baroque design elements found in paper cup carrying trays with anxiety-provoking phrases, rendered as gorgeous, yet fragile paper spheres...

In Baker’s work, there is solace in the geometry of fundamentals, and a practice that focuses on the ephemeral nature of paper and the ease of its transportability, which allows he...

Levan Mindiashvili, in his second major exhibition, will debut works from a new project entitled “The Color Of The Sky” in which he examines the issues concerning identity politics f...

Radioluminescence is the phenomenon by which light is produced in a material by bombardment with ionizing radiation and can be used as a low-level light source for night illumination of instruments or signage or other applications where light must be produced for long periods without external energy sources. Radioluminescent paint used to be used for clock hands and instrument dials...

Nancy Baker creates paper constructions by combining digitally printed, hand and laser cut geometric forms loosely based on machine parts. Over time, the hardware imagery has evolved...

Elizabeth Riley’s work addresses questions concerning the complex and changing world we inhabit and our “mixed reality,” living between physical and digital/virtual contexts – are we our everyday, familiar, material past, or our digital future, and is this apparent “mixed reality” of the moment to be embraced or resisted. Is the digital present the bells and whistles of an unchanged and familiar humanity or does it define us, and the future. This project is embodied in tabletop cityscapes, structural wall works and installations including video, inkjet-printed video stills, and found home furnishings. Other continuing threads at play in my body of work are the struggle to overcome oppression as a woman – and a relationship with the urban environment and constructed space, as both personal and paradigmatic space. Exhibited in Excessive Frugalities, Digital Feet and Rocking Posture are three dimensional wall works made from multicolored video stills inkjet-printed on paper, and paint on the tough mylar-like material, duralar. These work combine illusionistic space with constructed elements in a multidimensional mashup of traditional and new mediums. . A long time New Yorker, Elizabeth Riley graduated from Barnard College and received an MFA from Hunter College. In April 2017, the site-specific participatory installation, City Remix, appeared in the exhibition Reconstruct at LIU, in Brooklyn, and in June 2017 the 20 x 20 ft installation, Paper Dragons, Broolyn, which functions as a walk-in, physical video, appeared in Bigger Bolder Better at 470 Vanderbilt Ave, Brooklyn, sponsored by Chashama. In 2016 a multipart tabletop cItyscape, Video City, appeared in the exhibition, Land, Air, Place at Project ARTspace in Manhattan. In 2014-2015 large-scale installations by the artist appeared in exhibitions of site-specific work in Brooklyn at Storefront Ten Eyck, curated by Karin Bravin, and in Atlanta and Duluth, Georgia presented by Dashboard. In 2011-2013 her work was exhibited in a number of 2- and 3-person shows or screenings, including at Kijdome, Boston, and dB Visual Artist Series / Dungeon Beach, Storefront Bushwick, Creon Gallery and Studio Salon curated by David Gibson, all in New York City. Groups shows include exhibitions at Denise Bibro Fine Arts, Lesley Heller Workspace, Van Der Plas Gallery, Janet Kurnatowski Gallery, Norte Maar, Associated Gallery, Brooklyn Fire Proof, Active Space, Sugar in Bushwick, NY Studio Gallery, Sideshow Gallery, PS 122, and Nurtureart. Elizabeth Riley's videos have appeared in screenings at home and abroad, including venues in England, Madrid, Copenhagen and Berlin. She was awarded a BRIC Media Arts Fellowship in 2014 and has been honored with twelve artist residencies, including the Heliker-Lahotan Residency, Great Cranberry Island...

Nancy Baker creates paper constructions by combining digitally printed, hand and laser cut geometric forms loosely based on machine parts. Over time, the hardware imagery has evolved...

Nancy Baker creates paper constructions by combining digitally printed, hand and laser cut geometric forms loosely based on machine parts. Over time, the hardware imagery has evolved...

Ryan Sarah Murphy's creative practice is intuitive and process-driven, prompted by the found ephemera of my daily experience. Responding to the inherent energy within discarded and...

canvas, collage, pastel, acrylic, photo transfers, 2016 Bifurcated sheets of canvas with torn edges suggest the beautiful open vistas now inaccessible to the residents of the Mott Haven and Port Morris areas of the South Bronx, abandoned and dominated by de-teriorating remains, rotting remnants of piers, New York State-owned power stations and City Waste transfer stations. The unusual materials and torn canvas edges convey with tactile sensibility the contradiction documented with photo-transferred images, layered with acrylic and pastel. Materials and image fuse revealing a broken South Bronx history, an urban renewal tragedy, an area once the retreat of choice for fresh air, heath and greenery. The shards of information and vistas evoke the former Port Morris harbor named after Governor Morris a signatory of the constitution. There barges once docked and youth once swam off a pier in the East River. Cunningham’s work centers upon time, transience and contradictions shown through images of the shifting urban present. Compelling environmental concerns juxtaposed against industry, ur-ban blight and the loss of the natural environment as well as her concern for her Bronx home area faced with gentrification drive her work. Linda Cunningham is a Bronx based artist with a long New York and international exhibition career. ODETTA, Bushwick, Brooklyn featured her work in a November two person exhibition and in the Harlem FLUX Art Fair, in 2015 and 2016. Her 2013 installation in No Longer Empty’s “This Side of Paradise,”at the Andrew Freedman House was installed at the Bronx Museum, 2014 in an exhibition sponsored by the Bronx Arts Alliance. The Bronx Museum displayed her sculptural installation ”Urban Regeneration” on its terrace, 2009/10. Exhibitions in Germany began with a Fulbright Senior Research Fellowship in Berlin and her monumental public sculptural installations & alternative memorials are permanently sited in Cologne, Kassel, Bad Hersfeld and Cornberg, Germany, Grounds for Sculpture, Hamilton, New Jersey and City of Sculpture, Hamilton, Ohio. Alternative memorials were sited at the CUNY Graduate Center across from Bryant Park, 1989-1995, in Tribeca and at UN Plaza, New York 1997-1998. Recent temporary public sculpture installations were at Westchester Sq., Bronx. NY, 2014 and Marcus Garvey...

Art history has always been a source of inspiration. Since 2010 she has been specifically interested in investigating Tibetan Tangkas. Visiting key collections nearby at the Newark Museum, the Metropolitan Museum and the Rubin Museum repeatedly studying their structure and content. Pat Lay has used computer data and computer parts...