In addition to its own work, Egg Collective represents a highly curated selection of contemporary artists.
Hannah Rose Dumes
Hannah Rose Dumes received her BFA from Washington University in St. Louis and her MFA from Tyler School of Art in Philadelphia, after which she moved to Brooklyn, New York, where she currently lives and works. Dumes has shown her work nationally and abroad. Recent selected exhibitions include: Ida Schmid Gallery, Idio Gallery, NY; Frontrunner Gallery, NY; HD Projects, NY; Kayuta Gallery, Tokyo and the Hunterdon Museum, New Jersey.
Operating within the realm of still life, Hannah Rose Dumes's mixed-media paintings explore ideas of female fantasy, transformation and power through the lens of fashion and beauty. In this body of work, Dumes collages digitally printed rice paper to canvas (often taken from photographs of other paintings she's made), and paints on top using a combination of oil, acrylic, and marker, creating a layered push/pull between the media. These paintings reference "flat-lay" compositions, or mood boards, commonly used in advertising and social media, in which objects are photographed from above, distorting space and reality. Lipstick, lemons, and fleshy figuration swirl about and blur the lines between the mundane and beautiful, and the bodily and grotesque.
Cleo, 2015 | 24" x 18" | Oil and Fabric on Panel
Tootsie, 2015 | 48" x 36" | Acrylic, Marker, and Collage on Canvas
Miles, 2015 | 48″ x 36″ | Oil, Acrylic and Collage on Canvas
Electric Temple, 2015 | 48″ x 36″ | Oil, Acrylic, Glitter, Collage on Panel
Red Room, 2015 | 48" x 36" | OIl, Acrylic, Pastel, and Collage on Canvas
Moonbeam, 2015 | 48" x 36" | Acrylic, OIl, and Collage on Canvas
Flossie, 2015 | 60" x 48" | Oil, Acrylic and Collage on Canvas
By the Sea, 2015 | 48" x 36" | Oil, Acrylic and Collage on Canvas
Tealia Ellis Ritter was born in Illinois and currently lives and works in rural Connecticut. Ellis Ritter views photography as an experimental process, utilizing varying genres to visually explore the edge between abstraction and representation. Her work has been exhibited internationally, most recently by Aperture, The New Yorker, The Magenta Foundation, at PRC: Exposure, on Women in Photography, by the Corcoran Gallery of Art, at Catherine Edelman Gallery, by Taschen NYC and at Humble Arts “31 Under 31” exhibition. Her work has also appeared in many publications, including The London Daily Telegraph, Stella Magazine, Bloomberg Pursuits Magazine and The Financial Times of London.
My mother broke her collar bone twice in her youth. For years she experienced pain in her chest and shoulder. While visiting an alternative healer in Hawaii, she was informed that an ancestor of hers had his chest smashed in a dramatic accident. The healer explained that the pain was not just her own but a cellular memory contained in her genetic code of the accident experienced by her deceased relative. He told her that our cells carry the lives and memories of generations and that these memories, while not consciously accessible, are still active and imprinted on our beings, causing us to feel and behave in ways we may not fully comprehend. We are all tied together through this shared cellular history. After leaving the healing session, she later remembered and confirmed, a story her mother told her while growing up, about a terrible mine car accident, in which her grandfather was thrown from the car, crushing his chest.
My mother married my father when she was 20 years old. He was a mining engineer. Thirty years later, I spread my father’s ashes on the 360 acre farm he lived on prior to his death. The motion of my hand, throwing his body, lives in me. The change to the color of the ground imprinted.
Winter Clings To Parts of Us, explores through a repetitive performative meditation the act of throwing in relation to the inherent transformative power of the photographic negative as a malleable interpretable surface. Each image, shot on the 360 acre farm where the ashes were spread, takes on the process of transformation in a unique way, relying on the chance action of throwing materials onto the processed film prior to printing, creating vivid color shifts on the surface of the negative and echoing the mark making act. Multiple exposures of the same image are used repeatedly but handled differently in the application of materials to the film itself. Thus, liberating the image from the instant of its’ initial creation and allowing it to operate as a linked moment that changes with each revisitation.
Blue, 2016 | 40″ x 32″ | Archival Pigment Print | Edition of 3
Black, 2016 | 25″ x 20″ | Silver Gelatin Print | Edition of 3
Crimson, 2015 | 50.5″ x 40″ | Archival Pigment Print | Edition of 3
Young Peach, 2015 | 50.5″ x 40″ | Archival Pigment Print | Edition of 3
Lavender Spray, 2015 | 50.5″ x 40″ | Archival Pigment Print | Edition of 3
White Drops, 2015 | 21″ x 16″ | Silver Gelatin Print | Edition of 3
Untitled (Blue, Black forms), 2015| 25″ x 20.25″ | Archival Pigment Print| Edition of 3
Ashes Dissipating, 2013 | 21″ x 16.5″ | Silver Gelatin Print | Edition of 3
Untitled (Drop Midnight), 2014 | 40″ x 51″ | Archival Pigment Print | Edition of 5
Untitled Green, 2013 | 40″ x 50″ | Archival Pigment Print | Edition of 5
Untitled (Yellow), 2015| 14″ x 11.5″ | Archival Pigment Print | Edition of 3
Stephen Somple is a Brooklyn based sculptor and silversmith. His work explores the intersection of apparent binary oppositions such as order/chaos, design/chance, general/specific, and sacred/profane. He aspires to realize the dichotomy of Dionysian and Apollonian creation simultaneously within cohesive sculptural forms.
The nine pieces in this series explore form through a process somewhat dependent on chance. Using primary shapes - circle, square, triangle - as a starting point, three dimensional objects are dropped from a significant height. This process raises the shapes into a form, not unlike the way a silversmith might “raise” a bowl or vessel by hammering a sheet of metal. The results are then inverted and welded, bringing the unique lines and contours of each plane to a logical conclusion.
Untitled 1 | 24″ x 24″ | Oxidized Brass | from an Edition of 9 forms
Untitled 2 | 24″ x 24″ | Oxidized Brass | from an Edition of 9 forms
Untitled 3 | 24″ x 24″ | Oxidized Brass | from an Edition of 9 forms
Untitled 4 | 24″ x 24″ | Oxidized Brass | from an Edition of 9 forms
Untitled 1, 2016 | 18.75″ x 15.75″ | Watercolor on Paper
Untitled 2, 2016 | 18.75″ x 15.75″ | Watercolor on Paper
Untitled 3, 2016 | 18.75″ x 15.75″ | Watercolor on Paper
Katie Merz has been exhibiting her paintings since 1993 in New York City and Brooklyn with solo shows at such galleries as Jack Tilton Gallery, Pierogi, Mitchell Algus Gallery, and Ferro Strouse, among others. She has also exhibited in group exhibitions in such venues as Brooklyn Museum, Hunter Gallery, Pierogi, Postmasters, The Drawing Center, and White Columns among other venues. Outside of New York City she has also had solo exhibitions at Wendy McDaris Gallery in Hudson, NY, Tenderloin Culture Lab in San Francisco and Headland Center for the Arts, also in San Francisco, to name a few.
In 2009 Merz received a Judd Fellowship for a residency at the Chinati Foundation in Marfa Texas. In 2011 Merz was awarded the Daedelus Painting Fellowship for a residency at MacDowell Colony where she has on numerous times been in residence.
Born in Brooklyn. Influenced by Brooklyn, cartoons, architecture, silence and the kinetic structure of things. Many Media have influenced the constantly changing surfaces that are worked upon. Synthetic, clear, wearable, moving and simple. No hierarchies are implied. Line, and respect for the changing integrity of line is what the practice is.