Annual Juried Exhibitions at MINT ATL

Sydney Daniels sews threads through the surface to explore our deceptive relationship with memory. The implementation of expired Polaroid film is a vehicle to represent degraded memories over time. The thread is representative of when one attempts to recall a memory. It obscures the picture plane and adds a textural element that is attempting to add new information, but instead it is modifying the image (or memory) with every puncture.

Daniel Kornrumpf’s paintings are autobiographical, biased, and imperfect visual transmissions of the people and objects that are a part of his personal story. These objects act as vehicles for connection; a connection to shared values, to the spaces we inhabit, and act as a connection to understanding his own sense of existence.

Daniel Kornrumpf's paintings speak to his existence, and the key objects in the paintings represent each and every single chapter of his life. The vivid colors emulate the energy that was felt at the time, and he perfectly captures and relives it through his paintings. Each and every single object is so meaningful, and it holds so many memories in one substance.

Scratchers by Jackson Markovic is an ongoing series of quilts modeled after scratch-off lottery
tickets, found in downtown Atlanta’s sidewalks and corner stores. The transformation,
laborious and precise, is a commentary on the neoliberal failure of social service. The
lottery tickets as a symbol, discarded and ripped apart, are the remains of a system
that has not yet fallen.

Jackson Markovic creates this faux lottery ticket to represent a personal conflict, as the lottery directly funds his
tuition through a state scholarship. In imagining the ephemeral as an object of
sentiment we are asked to reflect the functions which deny and uplift our privileges. It questions how something so tangible and fleeting can affect so many peoples lives.

Spencer Sloan uses his background as, what he describes, "a terrible, horrible, no good, very pop-culture blogger", to explore the obsession with the private lives of celebrities, and issues of ownership and copyright. He approaches that by digitally manipulating paparazzi photographs into abstraction with a series of image-corrupting applications—using a ubiquitous modern device (iPhone), turning the voyeuristic into the inscrutable, creating a postmodern commentary on societal values in relation to contemporary pop culture.

Elise Chang presents her "Food, Identity and Translation" series to draw from the cultural inconsistencies and loss of identity growing up as a Second-Generation Korean-American in the South. Her collection of mixed-media drawings supports the concept of retaining a sense of cultural identity and interconnectedness through cuisine. The communal act of having a meal with one another shows the role that food can play in constructing and retaining our customs and ancestry while living in a country as diverse as the US.

Libbi Ponce uses their sculptures to embody world-building rooted in archival research and memory, disavowing metaphysical concerns allowing for the free transmutation of motifs and un- apologetically generative fictions.

Ponce applies contemporary aesthetic methodologies informed by ancient Andean ceramics (erotic and anthropomorphic), the virtual realm, and mythology to probe discourse on gender and sexuality.

Libbi Ponce is also interested in the grid as a plane of existence and as pixels, experimental perspective, ancient works by the Milagro-Quevedo and Chorrera cultures, characteristics ascribed to animals—such as the loyalty of dogs—, Halo 5, and questioning traditional roles of femininity inscribed to artificial intelligence. Currently, Ponce is constructing a physical and digital environment for an interstellar alter-ego. Layering planes of the virtual atop one another results in a multitude of transparencies that produce new forms of vision.

Eilis Crean presents "Marketplace", an ongoing drawing series started in 2014. It is a form of undercover reportage and documentation presenting working conditions at the front end of consumerism in the United States of America. In the context of hourly labor, the series expands on references to time that form undercurrents in much of her work - cyclical and paused, geological and momentary, lost and seized, contemplative and purchased. In the apparent anonymity of market machinations, time is priced. In the context of the current Covid 19 global crisis, these workers’ public positions amass additional poignant layers of meaning, with or without acquisition of value.”

Jeffrey Wilcox presents artwork that represents who he is as an artist. His upbringing in Balibago, Philippines heavily influences his artistic color and several of his mixed media pieces. These aluminum bust covered in colorful paint is among many of the pieces Wilcox has created.

Amina Daughtery is an artist that focuses on the history and culture of black people across the diaspora. Her work is an intersection of her passion for history, sociology, African tribal and ceremonial tradition, and pop culture. Her current bodies of work examines the relationships between African and African American cultures in the context of stereotypes by combining historic and contemporary elements of each. Through this collection she aims to trace portions of African American culture deemed negative to their roots in Africa, which were sanitized long ago. In stripping these stereotypes of their negative associations and placing them in historical contexts, She is reimagining them as continuations of the lineage that was so abruptly broken. These works symbolize her belief that certain elements of our culture are manifestations of subconscious memories, previously suppressed by trauma.