Fun fact: Contrary to the common believe that opossums “play dead”, they actually become so stressed and scared that they pass out. So if any of you happen see a pink-haired woman laying in the middle of the floor or hallway don’t worry too much, the effects should wear off eventually.
Since the start of working with metal at 15 years old Meg has found inspiration in lines; A simple connection from point A to point B that can create a space, a relationship, or a value. She is inspired by lines found in her day to day surroundings that imply or establish a sense of volume, weight, and movement. Her first major body of work was pulled from observing and interpreting the fabric studies of renaissance masters while her most recent works evolved from internal, emotional and psychological analysis. The past 5 years have consisted of Meg creating her own connect-the-dots of homes across the northeast and not being any place longer than 9 months, so she is really looking forward to playing dead for the next couple years and splaying her guts for the world to see.
As an artist, I grew up in China and traditional Chinese culture inspires my artwork. I believe it is important to carry forward our culture heritage, because it embodies the spirit of our nation. Particularly, traditional Chinese arts have a long history and hold the intelligence and ideals of the Chinese people.
My artwork is associated with these traditional Chinese arts, and is informed by the styles and subjects of Chinese landscape painting and fine brushwork painting. I express the literary pursuits that ancient Chinese scholars always practiced, and place the viewer in a moment that has poetic and pictorial splendor. I aspire to bring elements of traditional Chinese art into contemporary metal and jewelry artworks to emphasize that Chinese art does not only speak to the past, but is culturally relevant in the present.
Moreover, I enjoy the idea of fusing beauty with meaning to attract viewers’ attention and move their hearts. I have taken forms from some objects that existed in China since the ancient period, such as a room screen; and using imagery that has special meanings in China, such as the crane, the phoenix and the plum. For example, the crane is a significant symbol in Chinese history that represents high loyalty, nobility and faithfulness. These symbols also embody personal cultivation. I emphasize the importance of personal cultivation because it not only relates to personal development but also connects and contributes to the thriving of a country and nation.
Everett Hoffman grew up in the great state of Idaho—not on a potato farm, but in the suburbs. Much of his life was dedicated to leaving Idaho and in 2013 he successfully moved to Seattle and began working as a jeweler. He is currently living in Richmond, Virginia attempting not to get heat stroke or sun burnt waiting for grad school to start. Everett works primarily with metalsmithing techniques to explore ideas of adornment, environmental relationships, and queer identity. His work questions the way these relationships are represented and perceived by juxtaposing material and imagery to create work that engages a dialogue between the viewer and wearer. His current body of work examines how everyday objects act as symbols and reminders of our slowly changing climate.