Spring 2020 Art Competition
The votes are in! The Spring 2020 Art Competition winners have been chosen. The theme of the competition was "Resilience". The winners are:
Musical Performance/Spoken Word
The winners will receive an Amazon gift card, a certificate and showcased on the BridgeValley GRID online gallery. Congratulations to all the winners!
We want to thank all the art competition participants as well as all who voted. We appreciate your contribution to this event.
The GRID is currently seeking artists for solo exhibits in the gallery throughout 2020. If interested, please email your portfolio, resume, and artist's statement to firstname.lastname@example.org.
The Womxn Empowerment show at The GRID (November 2019 - January 2020) featured the works of Melissa Doty, Elizabeth Elswick, Amber Indigo, Marisa Jackson, Jessica McClanahan, Amanda Jane Miller, Tori Myers, Emily Prentice, Domenica Queen, Betsy and Emily Sokolosky, Hannah Watters, and Nichole Westfall.
The January 2019 Art Show at the GRID featured the photography of David Pittenger and the pottery of Regina Swim.
David Pittenger - "Mr. Coffindaffer's Crosses: A Study of Public Art"
Dr. Pittenger is an experimental psychologist by training and an academic administrator at Marshall University, in Huntington, West Virginia. Several years ago he resolved to study and create fine art photography. He explores the landscapes of West Virginia and also finds opportunities for expression through macro photography, interpretations of objects following the aesthetic of Japanese wood block prints, and abstract expression inspired by Mark Rothko and other artists working in the mid-20th century. Central to his work is the impression of human presence or agency.
The Coffindaffer Crosses series began in 2015 while he was driving in a remote part of West Virginia. He had for many years seen the crosses as a common roadside fixture and gave them little thought. On this occasion, however, he took time to look at one of the Calvary sites located in a large, well-maintained paddock, surrounded by a white fence with an open gate. As he began to "read the scene," he asked why people would volunteer to have the crosses raised on their land and what the crosses meant to them. As he traveled through the state, he noticed that, although the Crosses were nearly identical, their placement was unique and brought attention to a place that might otherwise be ignored.
He now sees the crosses as a form of public art that draws attention to place and to the families who lived for generations in the same place. Although many people put religious icons in their yards, the Coffindaffer Crosses - three large crucifixes built from utility polls - are unique to Appalachia. As such, the Crosses give us the opportunity to examine those who live in the region. As with all art, he asks that you look at the crosses to learn more about others and what they value while you look at the crosses to learn more about yourself.