Invisible Threads

Jose Trejo Maya, Bradley Weyandt, Leslie Norman, and Cee


Opening Reception

Friday, April7
7 – 10 p.m.

Close of Show

Saturday, April 29

Artist Bios

Bradley Weyandt- Main Gallery
Bradley Weyandt received his MFA from the Ohio State University in 2022. Weyandt’s work has been included in exhibitions at The Sculpture Center of Cleveland, OH; The Ministry of Culture & Tourism and ROY G BIV Gallery of Columbus, OH; SPACE Gallery and 937 Gallery of Pittsburgh, PA; The Westmoreland Museum of American Art of Greensburg, PA; and The Erie Art Museum of Erie, PA. He lives and works in Columbus, OH.

Jose Trejo Maya- Installation Gallery
I am a remnant of the Nahuatlacah oral tradition a tonalpouhque mexica, a commoner from the lowlands (i.e. Mexico) from a time and place that no longer exists. At present my poetry has been reified as it has been published in the UK, US, India, Spain, Australia, Argentina, Germany and Venezuela. I have been exhibited in different venues with a work that’s titled: Transparencies in Time: Cuahpohualli embedded in ethnopoetic language poetry. I seek to expand on this work into a comprehensive exhibit in a gallery and/or installation in 3D public art sculptures (i.e. three simultaneous monumental works that expand into multiple levels of perception and/or dimensions).

I was born in Celaya, Guanajuato, Mexico, where I spent my childhood in the small neighboring rural pueblo of Tarimoró and wherefrom my family immigrated in 1988. My inspiration(s) include Netzahualcoyotl, Humberto Ak’abal, Ray A. Young Bear, and James Welch. I have a work in progress of a short-story series where I interpolate the sunstone calendar (i.e. the primary source of the Cauhpohualli Computo del tiempo azteca y su correlacion actual Anahuacayotl de Tlaxcalancingo, Puebla). To bring to life a micro-fiction project titled San Miguel de Tarimoro ca. 1546. It’s a micro-fiction work of short stories that delve into the immaterial aspects of time. It will be digitized into video with simultaneous audio in video-book view narration. Namely, it’s a bridge from poetry to narrative storytelling. The work is a catalog of the 365 days in the Tonalpohualli or count of days in hologram. My work is rooted in Mesoamerican lore and a pre-Columbian notion of time that’s extant in the poetics and as such it’s the foundation and bedrock. While in ceremony with Chololo medicine men in the Tule River Reservation he dreamt this written prophecy…

Leslie Norman- Front Gallery
Series: American Heritage Glass

In 2022, the American Heritage Glass series began as an homage to the beautiful glassware of the American Brilliant Period (1876 – 1920) to the Depression Era (1929 – 1939), starting with a humble set inherited from my maternal grandmother, Rose.
Many of the pieces in this series were manufactured regionally by companies such as Fostoria, Libbey, Anchor Hocking, Cambridge, and Imperial. Unbeknownst to many in younger generations, Ohio has an illustrious past as a titan of the glass industry.
Specimens are presented as traditional handmade gelatin prints or photograms – a form of ‘camera less’ photography which exaggerates the visceral details, geometric complexities, and imperfections (bubbles, fissures, inclusions) forever trapped in the glass.

Series: Frontier
In 2016 the American Bison became the first national mammal of the United States. Around the turn of the last century, the once plentiful species were pushed to the brink of extinction; it is agreed that less than one thousand individuals remained (some sources claim only 541), a number that pales in comparison to the legendary 60 million that used to roam free. It was a multifaceted catastrophe.

The photographs in this series were created utilizing found antique negatives of various formats from the period of America’s great bison genocide of the mid-late 1800s to recovery efforts in the early 1900s. Having been sourced from the Great Plains and American West, the photographs give us a glimpse into the lives of these resilient, imprudent, yet hopeful people who annihilated the land. This series explores the passage of time, legacy, and the repercussions of the past through alternative printing and manual destruction.

Cee- Front Gallery Installation
My work has always been an exploration of the ineffable. I am interested in the apparent line between life and death, material and spiritual; the endlessly fascinating mystery of existence.

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