SuperAsset

Artist: Jos Manuel Cruz Igarza.

Awareness for the preservation of water has been the key to the conceptualization of the work, a theme that is reflected as the line of intention of the festival. The work is recreated in a hand grenade, covered by fragmentation elements that represent a geographic part of the state of Michigan, in detail the area of the FLINT river.
The resource as implosion within its interior with a liter of the artist's own blood recreates the
reality of the people of Michigan during the entire period of contamination. The limitation with
sensors up to 51 people from the public, this value corresponds to the number of states that the US comprises, it is the only amount that can be tolerated to interact with the work, in this way a constant alert is maintained that we must preserve the most precious that we have drinking water that source of life that is less every day. keep us alert for the water supply, its preservation or contamination of the locality or the world in which we live.
Functionality of the Work.
The piece is composed of a large-scale grenade that conserves 2 cubic meters of drinking water from the Michigan area, inside it stores a fine glass measuring cylinder with a liter of the artist's own blood. Sensors placed at the location of the piece perform a count and this cannot exceed 51 spectators. The sensors when performing a constant count if it passes to 52 the fractional test tube and contaminates the drinking water of Granada, giving a sense that we must preserve, above all, drinking water, this piece is a call to humanity not to lose the meaning of life.
The resource of the hand grenade in its concept exemplifies our current reality that is summarized in this little phrase "if we build, we also destroy."

Never let go of the fuze 2021

Artist: Jos Manuel Cruz Igarza.

Awareness for the preservation of water has been the key to the conceptualization of the work, a theme that is reflected as the line of intention of the festival. The work is recreated in a hand grenade, covered by fragmentation elements that represent a geographic part of the state of Michigan, in detail the area of the FLINT river.
The resource as implosion within its interior with a liter of the artist"s own blood recreates the
reality of the people of Michigan during the entire period of contamination. The limitation with
sensors up to 51 people from the public, this value corresponds to the number of states that the US comprises, it is the only amount that can be tolerated to interact with the work, in this way a constant alert is maintained that we must preserve the most precious that we have drinking water that source of life that is less every day. keep us alert for the water supply, its preservation or contamination of the locality or the world in which we live.
Functionality of the Work.
The piece is composed of a large-scale grenade that conserves 2 cubic meters of drinking water from the Michigan area, inside it stores a fine glass measuring cylinder with a liter of the artist"s own blood. Sensors placed at the location of the piece perform a count and this cannot exceed 51 spectators. The sensors when performing a constant count if it passes to 52 the fractional test tube and contaminates the drinking water of Granada, giving a sense that we must preserve, above all, drinking water, this piece is a call to humanity not to lose the meaning of life.
The resource of the hand grenade in its concept exemplifies our current reality that is summarized in this little phrase "if we build, we also destroy."

Artist: Brynn Gelbard, Lisa Donohoe (Londubh Studio), and Swalih Ibrahim.

Uisce (sh-ka, Irish) is a prayer for an abundance of clean water for all living beings. The rainbow drops symbolize water as a birthright for all humans equally. Plain and simple. A Londubh Studio x Swalih Ibrahim collaboration.

UISCE

Artist: Isiah Lattimoore.

For this project I wanted to explain why it is so difficult to talk about the water crisis. One of the saddest things that I experienced during the water crisis was the recognition that it was one of many crises affecting me and my family at the time. I placed two identical panels in a blighted home that was where my best childhood friend first met. The painting on the left is "The Description" . This work is not destroyed but rather just scarred. The barely recognizable figure is of my younger brother. This figure is my attempt to explain the trauma that befalls urban youth as a result of living not only in close proximity of danger, poverty and systemic neglect, but also being looked at as a potential threat yourself. The painting to the right is "An Illustration". This work was me using the medium of drawing (and deconstruction) to illustrate the impact the water crisis had specifically. The left figure stands stoic and almost minisingly. Where with the right my intention was to capture the joyful boyish like charm that is seldom found, but vitally necessary for survival in urban areas like Flint.The contrast between the two figures is stark. This was to show that somes things, like poisoned water for example, affect people unbiasedly.  


My work is traditionally involved in documenting the process of obtaining and deconstructing elements of naturalism. In this work I try to expand that idea onto the materials themselves. The image housed within the frame is experiencing the same process that the physical image is experiencing. I illustrate a figure midway through its journey towards naturalism. Amidst the steps of its creation the work itself literally experiences the same process in the physical. By reverting the materials from what was a perfect form of a canvas back into the process to a deconstructed state. This is again an illustration of the process being mimicked by the image itself.


Each painting in the video are for sale also and are
8ft x 4ft, mixed media (oil, charcoal, acrylic, aerosol) on panel. 


The Description

Artist: Erin Whitaker.

Strange Fruit 2.0 is an installation created to honor lives lost to lynchings across America in some shape or form. This piece was influenced by my grandmother Mary F. Graham who was an art professor and independent artist. Mary created the original Strange Fruit which depicted a young lady walking down the street in the 1950s and seeing black men hanging from the light posts going up into town. This piece was created with the same intent to bring about consciousness that we still exist in a society afflicted by racial tension and a search for freedom & equality. The dry brushes dipped in black and white paint represent the stain we all have of color. The hemp rope represents the tool used to tie around the necks of many men hung for the color of their skin. The wood for the infrastructure represents the trees, bodies hung from until the flesh and bones became one with the forest itself. I present to you, Strange Fruit 2.0.