Art is a Tool for Empowerment and Education
Like all exhibits in the Community Exhibition, this work will respond and evolve through time. The entrance to Statom’s exhibit is a giant glass wall that will remain at KANEKO semi-permanently to designate our newly expanded education space, but even that massive structure will change; the colors, found objects, and stories within will be moved, replaced or added.
Therman Statom is a pioneer in the contemporary glass art movement, a longtime friend of Ree and Jun Kaneko, a KANEKO board member, and a social activist. Much of the latter half of his career has been focused on the importance of educational programming within the arts. Statom has taken a deep interest in employing workshops as a catalyst for social change and, in effect, positively impacting a community. This exhibit displays a variety of his new and historical work, but the greater story is this catalyst as a dynamic and powerful movement for social justice.
“I feel that art is a tool for empowerment and education. It’s also a viable tool to investigate positive change and engage a culture through the use of exploration.” – Therman Statom
About Therman Statom
Therman Statom – sculptor, glass artist, and painter – is most notably known as a pioneer of the contemporary glass movement for his life-size glass ladders, chairs, tables, constructed box-like paintings, and small scale houses; all created through the technique of gluing glass plates together. Sandblasted surfaces become a canvas for spontaneous vibrant colors and line work, which take nuances from Abstract Expressionism and concepts of Minimalism, while simultaneously incorporating a twist by using blown-glass elements and found objects.
Born in Winter Haven, Florida in 1953, Statom spent his adolescence growing up in Washington, D.C. His interest in the arts grew from a fondness of painting and he began to investigate ceramics at RISD. However, after an experimental glass blowing session with Dale Chihuly, he was soon hooked on the spontaneity of glass blowing and its limitless possibilities. Statom went on to pursue studies at Pilchuck Glass School during its inaugural year, completing a BFA in 1974 from RISD, and later studied at the Pratt Institute of Art & Design.
Infused with questions, vulnerability, and disruption.
Pamela Conyers-Hinson moves through the world investigating and experimenting. Often this work is done through the use of discarded and forgotten materials, the shared stories of women of color, or the magnification of a subject’s journey. Nothing embodies this more than her mask work: the physical and intellectual relationship developed between artist and subject through touch and conversation as the material is applied, and the manifestation of a face whose ancestral facial features are embellished and elevated by the artist through hand-painted design.
Most of the work in this exhibit was completed between 2018 and 2020 and some pieces were made at KANEKO; all are infused with questions, vulnerability, and disruption. Conyers-Hinson’s use of multiple mediums: wood, bronze, marble, alabaster, clay, and textiles, represents the diversity of her subject matter and the intimate and tactile ways she engages with her audience and her community.
What to Expect When You Come to the Opening
We have created a safe environment for this Opening so that everyone attending can enjoy themselves. By reserving a space for this Opening you accept the following:
- Doors at our main entrance on 11th and Jones will open ten minutes before each 45-minute time slot for check-in. We recommend not coming earlier to avoid having to stand outside.
- Guests will observe a 6-foot distance from each other while waiting for doors to open and while in the KANEKO (if you are with a group of cohorts you may stay close together but please remain at a safe distance from other guests).
- Masks are required while waiting outside the main entrance for admission and inside the KANEKO.
- At the 45 minute mark, you will be asked to move out of the exit through the Bowtruss so the space can be cleaned and readied for the next group.
About Pamela Conyers-Hinson
Conyers-Hinson holds a Masters of Arts in Teaching and Organizational Leadership and a BA in Studio Art. She is a classically trained sculptor using the lost wax method for bronze casting and traditional methods for stone carving and her interest in sustainability within the arts is evident by her use of experimental natural mediums. She received the Council of American Art Society Inc. Award for Excellence in Representational Sculpture and was a 2018 Fellow at The Union for Contemporary Art in Omaha, NE. She has taught art all over Nebraska: in rural communities with exhibitions from the Sheldon Museum of Art, for Joslyn Art Museum, and in after school programs focused on underserved populations. Conyers-Hinson has exhibited artwork in New York, Illinois, and Virginia, is a member of the National Association of Women Artists (New York Chapter), and recently published a book of artwork focusing on capturing ancestral facial features titled “Expressions of Black Heritage Through 50 Faces.”
Some are bold, some are funny. All are human.
Watie White’s new exhibit consists of two separate bodies of work, each with individual and vital ties to this community and to KANEKO. Both projects are rooted in the process of woodcut printmaking, a reductive process that begins with a flat piece of wood into which the white of an image is carved. White’s newest project is the presentation of 4 of the largest woodcut panels he has ever created, all containing moments the artist himself experienced and which hold secrets woven in.
Also presented are a series of large prints from 100 People, a public art project which White began in January of 2017. This project features friends and collaborators of White’s who advocate for others, who bring joy with their practices and whose lives are intertwined with the ethics and generosity they display to their communities and the world.
About Watie White
Born in Palo Alto, CA, Watie White was raised in a transplanted family of cultural anthropologists in very rural Southern Illinois. Watie learned early the power of the stories we tell and the long term effect of being heard. The diverse work produced by his studio is known for being site-specific and highly collaborative, deeply skilled, and rife with hidden absurdity.
Watie received degrees from Carleton College (BA 1993), School of the Art Institute of Chicago (BFA 2001), and American University (MFA 2003), has attended multiple International residencies and sustained an obsessive studio practice since 1996.
In Omaha, Nebraska since 2006, his work has embraced studio-based painting and printmaking as well as a socially engaged public art practice incorporating local communities, nonprofits, and multiple school districts. Learn more about Watie White