Fragile Horizon is a feeling Jeremiah Jossim has for the future, a reference to the precarious state of our relationship with the land. Jossim has produced a series of paintings over the last year, that express deep reverence for his time spent in less human spaces and in the alternative nature of camping. This collection revels in the joy of observing, and in the quietness of a moment. It is an idealized and abstracted body of work; every element of the picture plane is shifted into patterns. Some geometric in nature and others resembling topographical maps and geological strata.
The rookie on the team may have the most pressure to pull their weight on the field, but they also have the most opportunity to bring new life to a group of experienced veterans. The same is true within visual arts. There are staples in the community, with defined bodies of work, guaranteed to bring the public something that they know and love, while the young artist plays a different role. The young artist has the untapped potential to be a pioneer for new ideas. The curated exhibition, Tenderfoot, is scheduled to open at Florida Mining Gallery on July 23. The term tenderfoot has traditionally been used to describe a newcomer or novice within a pioneer community. This show will give young pioneers of the local art community the opportunity to provide the public with a new vision of contemporary artwork. The work of Kenny Wilson and Magnet, the collaboration between Jake Carlson and Joseph Provenza, serve as examples of this fresh perspective. The artists will be presenting some of their most recent works, along with a selection of works by young artists including Cole Collier, Franklin Ratliff, Jarrett Walker, Julia McBride, Mimi Tran, Noah Mackenzie, and Ricder Ricardo. The works shown will be emblematic of these young artists’ role in injecting newfound energy and dedication to the practice of crafting contemporary art in Northeast Florida.
McKinna’s work presents how social media accounts function as an extension of self, examines ways in which they invite the participation of others, and critiques our intimate connection to them. Curious about boundaries between online representation and physical presence, McKinna situates her practice in the context of identity construction, social connectivity, and hyperreality.