Real Art Awards and Exhibitions
Supporting emerging artists.
2019 Recipients Announced
Real Art Ways is pleased to announce the six winners of the 2019 Real Art Awards, a juried competition that was open at no cost to emerging artists from the six New England states, New York and New Jersey. The winners were selected from a field of nearly 500 entrants. Each selected artist will receive a $2,500 cash prize plus a solo exhibition at Real Art Ways.
The Real Art Awards are intended to give a boost of recognition and opportunity to the six selected artists. In addition to the cash prize and a solo exhibition, each artist will receive logistical and curatorial support throughout the exhibition process. Real Art Ways will produce an exhibition publication for each artist. Opening receptions will take place during Real Art Ways’ monthly signature social event, the Creative Cocktail Hour, which attracts a diverse audience of 300-400 people.
This project is supported in part by an award from the National Endowment for the Arts. Additional funding for the Real Art Awards comes from the J. Walton Bissell Foundation and the Edward C. and Ann T. Roberts Foundation.
Terry Jenoure, Artist / Curator, Director, Augusta Savage Gallery
Olu Oguibe, Artist / Critic
Will K. Wilkins, Executive Director of Real Art Ways
The 2019 recipients are:
Jeanne Jalandoni: New York, New York
Jeanne Jalandoni culls from her Filipino-American identity to create assemblages, paintings, and tapestries that point towards the confusion of a bicultural upbringing. Her work utilizes the languages of domesticity (food, television, home life, etc.) to tell a story so specific it becomes accessible and relatable to a wider audience.
Work sample: Lounge; Acrylic, Oil, Screenprint, Plushies on Canvas 56” x 55” – 2018
Julian Johnson: Middletown, Connecticut
The photographs of Julian Johnson start with a sense of narrative play. Utilizing personal experiences with mental illness, his Marfan Syndrome, and relationships, Johnson’s imagery dances a delicate line between documentarian and studio photography. Always full of things to discover, his photographs fill the viewer with detail and consideration in each composition.
Work sample: Toe Touch; Digital image – 2018
Seunghwui Koo: Cliffside Park, New Jersey
As a child of a Korean butcher, Seunghwui Koo is interested in the many ways animals like pigs can be used and interpreted as symbolic. Considered lucky in Korea, and greedy in America, Koo has explored the pig form in a multitude of combinations with the human figure. Obsessive compositions of hundreds of hand sculpted pigs reference greed, food, conformity, luck, and a variety of other mixed signals depending on cultural frame of reference.
Work sample: Narcissism #Red; Resin covered with crystals, mirror on wood base, 14.5”x 14”x 14” – 2017
Catalina Ouyang: New Haven, Connecticut
The sculptures and installations of Catalina Ouyang evoke the tropes and aesthetics of villains and monsters as a metaphor for marginalized identities. Utilizing mythos both within and outside her Chinese-American heritage, Ouyang creates objects, sculptures, and performances that question the demonization of women, people of color, and queer identities, while simultaneously embracing the moniker.
Work sample: bitch bench; polystyrene, plaster, steel, Celluclay, wood, epoxy clay, resin; 14” x 228” x 37”
Athena Rigas: New York, New York
Athena Rigas is an artist who roots her paintings within her experiences as a synesthetic, where sound can affect her sense of sight. Within these overlaps comes larger metaphors surrounding her mixed upbringing as a first generation child of Greek immigrants in New York. Her paintings create a cacophonic experience of patterns, textures, and cultures mashing together.
Work sample: After The Story With My Father’s Glass Eye, I Was Suspicious Even Of Those Whose Eyes Were Real; Oil paints, collaged fabric on canvas; 60” x 60” – 2018
Shannon VanGyzen: Providence, Rhode Island
Shannon VanGyzen utilizes a mixture of sculptural techniques in painting-like formats, creating a tension between the two disparate media that furthers her ideas surrounding socioeconomic class and status. Furniture forms reference wealth and stability while being recontextualized into twisted, distorted structures.
Work sample: Hang In There; Found chairs, curtains, pillows, fringe, embroidery floss, bed sheet, tulle, latex paint; 48” x 42” x 36” – 2016
The 2018 recipients are:
Keith Clougherty: Braintree, Massachusetts
Clougherty blends traditional practice with social practice and video as he explores the role of the artist in society, family, and community.
Work sample: Moxie Tower. Granite slabs, coal, antique beverages, assorted figurines. 38” x 52”. 2018
Kylie Ford: Portland, Maine
Ford applies her mastery of woodworking and craft to repurposed materials. Formerly utilitarian structures bend in ways unintended by their original manufacturers, creating something that is both familiar and alien.
Work sample: Object Analogy, 2018, wood and steel, 52″ x 36″ x 48
Mateo Nava: New York, New York
Nava’s use of Mexican imagery, and his simultaneous rejection of the traditional painting format of stretched canvas on a wall, creates a visceral commentary on sentimentality and nostalgia.
Work sample: La llorona, acrylic, dye, fabric, photographs, canvas, paper, glitter, confetti, faux flowers – 2016 – 96″x 75″x 60″
Liona Nyariri: Brooklyn, New York
Nyariri’s work examines how an institution understands a collection and the relationships with its creators, especially in the context of colonization and migration. She brings to light the nature of systems, and explores how language and mythology intertwine.
Work sample: The Pidgin /hoo/ /no/ /no/ /go/ /no/ (window to another world) installation view – Clear resin, plexiglass, clear glue – 8″ x 11″ – 2017 – “Pidgin hit the window from inside. It left behind this text which reads hoo no no go no. This is the phonetic form of the phrase Who no know go know.”
Sofia Plater: Newton, Massachusetts
Plater works with construction materials to create unexpected explorations of aesthetic possibilities. Her work evokes the conflict between natural and man-made architectures; she creates sculptures that are simultaneously organic and synthetic.
Work sample: Cement #2 – 2018 – Medium: Cement, silicone, plastic, metal, live moss – 23”x 30”
2018 Jurors: Saya Woolfalk; New Britain Museum of American Art Director Min Jung Kim; and Real Art Ways Executive Director Will K. Wilkins. The award competition was open at no charge to artists living in New York, New Jersey, Connecticut, Massachusetts, Rhode Island, Vermont, New Hampshire and Maine. 286 artists applied for consideration.