Pop over to NorthPark to see more art from the 'Pop Up Project'

NorthPark Center continues its Pop Up Project with new works by emerging artists with local connections. The project uses barricaded storefronts as a canvas to showcase art. Here’s a look at some of the art and what curators say about them:

This piece by Lucie Hierro is located on Level One in NorthCourt. (Photography courtesy of NorthPark Center.)

Lucie Hierro: “Kitchen Still Life with Yoryi Morel, 2019″

“Hierro often transforms everyday items consumed by society—magazines, rubber gloves, plastic bottles, apples—into monumental relics.”
“In ‘Kitchen Still Life with Yoryi Morel,’ Hierro juxtaposes conventional objects that imply a sense of mass production (such as a plastic shopping bag) with highly contrasting items that signify singularity and the handmade (a reproduction of a painting by Dominican artist Yoryi Morel or a hand painted figurine). The intermixing and overlapping of such objects with certain implied signifiers, on view for the public to “consume,” perhaps encourages a questioning of our pre-conceived notions related to these material objects and, more generally the products that define commodity, consumerism, and culture.”

“Luke Harnden’s ‘Garden’ is located on Level One between Neiman Marcus and Dillard’s.

Luke Harnden’s “Garden, 2019”

“‘Garden’ by Luke Harnden integrates themes found in his paintings and sculptural objects into a site-specific, digital mural.”
“In ‘Garden,’ Harnden removes the image of a flower from its original context, as a photograph featured in a ‘National Geographic’ magazine that classified certain flowering plants; in its repurposed form, the viewer may question whether the floral pattern in Garden refers to an act of cultivation and maintenance, or the playful state of a wild garden.”

Shane Tolbert’s “After Elsie, 2019” is located on Level Two between Nordstrom and Macy’s.

Shane Tolbert’s “After Elsie, 2019”

“Shane Tolbert’s explorations are concerned with the process of materiality of painting, and the way images can be made by relying on chance, unorthodox materials, and gesture.”
Although his work builds on a premise of color field painting, the techniques Tolbert employs are far from traditional. He begins by thinning down acrylic paint which pools and flows on plastic sheeting. Once dry, the stains imprinted on the sheeting are applied to canvas using more wet paint as a binder. After allowing the plastic to dry on the canvas, Tolbert then removes it and what is left behind is the intact painted gesture, imprinted with the textural language of ripples and folds inherent to the plastic.”