Growing up in Oklahoma, Joshua Stone would skateboard and make graffiti with his friends. Since the late ’90s, he has incorporated those pastimes into his work. He always paints the same word across his work: “wave.” He says it has come to symbolize a self-portrait. “It’s a long-term study of how words interact,” Stones says. His pieces often involve different materials processed repeatedly. He finds fine art posters, money, and fabric in thrift stores, flea markets, online, or at the bank. Stone has just completed work on a fiber-optic chandelier and is currently working on disassembling and graffitiing a Baptist preacher’s old Bible.
A class at the Art Academy of Cincinnati introduced Kathleen Wilke to photography. Inspired by Howard Schatz’s water imagery, she composes images of draped women motioning languidly in the water. “Submerged subjects fascinate me because of the interplay of the light and reflection in water, and how it illuminates the skin and fabric,” she says. Dallas figures prominently in Wilke’s work—if only underwater. Her “Immersed” and “Lady of the Lake” series use White Rock and its legends as inspiration. This summer, Wilke will be in Greece, using the Mediterranean as her works’ watering hole.
From his father Ancel Nunn (who studied with Hogue during the ’40s), William Young began learning his craft. Nunn taught Young that images can relay a philosophy. Though Young loves to capture physical images—clouds, spider webs, metal—he also works with “internal images that come from someplace mysterious and outside my life experience, someplace archetypal in a Jungian way.” That archetypal landscape partially stems from his Texan background. “From big skies in West Texas to peeling paint on an old sign in Dallas to cracks in the sidewalks in Fredericksburg, I set the scenes in my paintings with these backgrounds and details,” Young says. The Longview Museum of Art welcomes his work in November.
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