Angie Seykora // Part to Part
Opening RECEPTION - APRIL 14, On View - April 14 – May 27
Omaha-based artist Angie Seykora presents a solo exhibition of work in our Wanda D. Ewing Gallery that transforms cast-off plastics and other familiar objects into mysterious and seductive sculptures. Using mass-produced, ubiquitous products – plastic wrap, steel wool, disposable placemats – that typically serve one very specific task, the artist explores the material properties and purposes of commonplace items.
In her process-based practice, Seykora focuses on the visual and tactile qualities of these items, altering them through repetition, handiwork, and scale. By ignoring the prescribed functions of these objects and considering only their physical properties, the artist forces us to question exactly what we are seeing, the sustainability of cultural production, and how we place value on objects we keep and those we discard.
The Union invites everyone to join us on APRIL 14 from 6 to 9 p.m. to celebrate the opening of our latest exhibition featuring Omaha-based artist, Angie Seykora and her collection entitled Part to Part.
The artist will be present. Refreshments will be served.
Part to Part runs from April 14th through May 27th.
Omaha-based Angie Seykora received an MFA in Sculpture from Edinboro University of Pennsylvania. She is a 2016 recipient of the Nebraska Arts Council’s Distinguished Individual Artist Fellowship award. She earned an Outstanding Student Achievement in Contemporary Sculpture award from the International Sculpture Center, from which she was selected for the fully funded Art-St-Urban Sculpture Residency in St. Urban, Switzerland. Seykora is currently an instructor of sculpture at Creighton University and participates as an artist mentor for Omaha youth through the Joslyn Art Museum’s Kent Bellows Mentoring Program. She exhibits her work nationally and internationally.
Paul and Annette Smith
Wanda D. Ewing Gallery
The Wanda D. Ewing Gallery is dedicated to the Omaha artist, educator, and founding Union for Contemporary Art partner who passed away in 2013. Ewing’s work ranged from traditional print media to painting, sculpture, and fiber arts, and was influenced by folk-art aesthetics and the depiction—and lack thereof—of African-American women in popular culture and the canon of art history. Throughout her career, she represented the connections between autobiography, community, and history, often with a biting, comical edge.
Born and raised in Omaha and educated around the United States, both the artist and her work traveled around the globe: she felt strongly about the fact that where one has been in the past—literally and figuratively—affects how one proceeds in the future. This often led her to historical representations of women in popular and folk expressions, such as pin-ups, beauty advertisements, “Mammy” dolls, and “exotic” figurines, all of which promote sometimes powerful, sometimes problematic ideals of womanhood into which she often projected herself. In sometimes-humorous, sometimes-serious appropriations of works by white, male artists from Western art history she similarly, meaningfully recast the figures in ethnic and gendered configurations that require viewers to rethink the originals. In so doing, Ewing encouraged dialogue around questions of who is allowed to make, see, and be seen in visual culture, and whether the arts look like the communities we live in, challenging her audiences to believe in the transformative power of art to conjure images where people might be themselves wherever they can see themselves.