now showing

Exhibit A

July 20 - August 27, 2022

Imagine an ornately decorated cookie tin.  It has pictures of the cookies that should be inside on the lid.  A kid waits for their grandmother to turn her back and attempts to steal a cookie.  As the kid wrestles the lid off the tin a collection of spare buttons, pin cushions, needles and thread spill out all over the floor. There are no cookies in the cookie tin.  We could use the cookie tin to tell the story of the butter tub that didn’t have butter in it, but leftovers from some other day.  From the kid’s perspective this is a story of deception and disappointment.  But it’s really “Exhibit A” of how my

Here, There and Everywhere

October 26 - December 3 2022

Showing in the Burton D. Morgan Space at Akron Soul Train

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Artist Statement: As an artist I am interested in exploring the regions where culture, decoration and craft collide.  Humanity is encoded with a catalog of cultural and ethnographic data, as an artist I collect this wealth of symbolic and semiotic language, filter it, and distill it to fuel my practice.   In this role I imagine myself to be part Studs Terkel, part Joseph Cornel and part Dr. Frankenstein. 

Here, There & Everywhere is based on collecting stories from around the community and transforming them into art.  To facilitate this, stories were collected at Akron Soul Train, The University of Akron’s Myers School of Art and through conversation with individuals on the street.  Stories were recorded and anatomized and transformed into new materials reminiscent of and copied from the original.  This form

of story cataloging seeks out the nominally normal and rudimentary stories of everyday people.   For Here, There & Everywhere stories were recorded in and around Akron, Ohio and the focus was a slice of life of Akron.  No specific time period was engaged and only the most basic of prompts were used, the real beauty of the project was most people had a great story to tell and just wanted to launch into it.  

The work presented here is the culmination of a larger research project which has been underway for more than three years.    This project began in Seoul, South Korea interviewing people about their lives during the development of Korea and the dolce vita years from 1978 – 1990.  While that project was grounded in place and time, Here, There & Everywhere is more free form and pinpointed solely in mining geography for human experience.  Akron has been and remains many things:  fertile ground for creativity, transit hub to locations, and a vibrant city full of unique lives and stories.  Here, There & Everywhere magnifies these moments so everyone can appreciate our shared time.

Featured in the capsoul gallery

Shores of Echo

October 26 - December 3, 2022

Showing in the CapSoul Gallery at Akron Soul Train

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Daniel Trzcinski will be exhibiting his residency work in an exhibition titled Shores of Echo. Daniel Trzcinski is an Ohio-based writer, musician, and audio/visual artist whose main effort for the last six years — songwriter, producer, and frontman of the synth-pop duo Bliss Nova — has explored to what extent immersive, collective experiences of art can set up conditions of possibility for embodying transformative ideas.  He used his residency to complement his ambient/instrumental project, Shores of Echo, with a visual component using analog-to-digital video processing equipment.

His artist statement: Apropos nature, Emily Dickinson proposes that “those who know her, know her less / The nearer her they get.” For me, the inverse is true, too: the further we get — into the virtual, digital,
artificial: the so-called ‘unnatural’ — the more familiar this irreducible strangeness becomes. Turns out, what’s ‘in here’ is ‘out there.’ 

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My audio/visual work recontextualizes artifacts — perceptible distortion common with analog/digital conversion — as ‘happy accidents,’ so the ephemeral becomes essential. I use instruments such as audio and video synths and samplers, as well as outmoded mediums likeCRT-TVs and tapes, to process lo-fi improvisations with ethereal, uncanny effects. Sources of shoreline sights and sounds include my own ‘IRL’ field recordings, a 3D beach I built in Unity, and digitized vintage DIY film archived online with few views.T

his collection of post-Internet pieces is provoked by Adrian Piper’s eerie selfies from “Food forthe Spirit” (1971), documenting her dissociative “self-transcendence” reading Kant’s FirstCritique in isolation — (contrast with my pandemic paperback, Hegel’s Phenomenology) — andby René Magritte’s notion of the “hidden visible,” signified by the apple-obscured visage in hissurreal self-portrait, “The Taste of the Invisible” (1964), and by his enigmatic object, thenon-pipe, in “The Treachery of Images” (1929), also known as “This Is Not a Pipe.”