RedLine engages approximately 15–20 artists at any given time who remain “in residence” for a two or three year period. In exchange for a small stipend artists receive studio space and mentoring from three to four accomplished artists per year who may be “in residence” or may be guests of RedLine on a more intermittent basis. Interactivity is a core element at RedLine: artists engage in healthy art criticism and vibrant debate as they grow together as artists and in the community. RedLine engages artists to particpate in various educational forums which allow them to learn new techniques and to hone their existing skills. The Artists in Residence Program is based upon an equitable selection process. In exchange, Artists in Residence are required to commit a minimum of 2 hours per week to community programs to provide community access to the artistic process and to share their artistic creations by working in their RedLine studios with the doors open to the public.
Growing up on the U.S./Mexico border established my wonderment of deceptively benign, nonsensical sayings...like “buscale tres patas de gato” (looking for three cat legs)...[alluding] to a person focusing on a portion of something, and not the whole, short sight vs. foresight. This method of dialog made it possible to discuss serious topics through a filter or a buffer. Read More.
My feminist-informed work explores the nature of representation, elucidating the edges of what can be said and what can be understood within a given semiotic system. Through the use of fiber media and text, I examine themes of femininity and its social construction, of vulnerability and dependence, and of that which is inarticulate and therefore unseen. Read More.
I am fascinated by escapism: how and why our senses transport us to imaginary worlds, how electronic media change the way we feel the present moment and how it can mediate our lives. Through film and theatrical effects, I immerse viewers in the experience of an illusion—what’s real and what’s fabrication? These new worlds are uncanny and mysterious. Read More.
I paint for my survival and myself. Time and again, I have realized that without my art, I would likely be dead. At the age of 15, primarily because I lacked signs of being a 'heterosexual female,' I was labeled 'mentally ill' and confined to a psychiatric ward. I lost over three years of my youth. I consider all of my art to be autobiographical. Read More.
My art making practice is reductive in nature, searching for ubiquitous ways of conveying ideas with as little information as possible. This is a "negative-reflection," a biproduct of our increasingly networked culture, an investigation into the filtering process of the artist confronted with an over-saturation of constantly decimated information. Read More.
André Daughtry was born in New York City and raised down the street from Princeton University in central New Jersey. Andre worked as a photo and set design assistant in fashion while residing in Brooklyn and has recently moved to Denver in order pursue his own art full time. -- Read More.