The Trawick Prize 10th Anniversary People’s Choice Award

Founded in 2003 by Bethesda businesswoman and philanthropist Carol Trawick, The Trawick Prize: Bethesda Contemporary Art Awards honors cutting edge visual artists from Maryland, Virginia and the District with $14,000 in prize money each year.

Carol Trawick, founder of The Trawick Prize, established The Trawick Prize “best of the best” Sapphire Award to mark the contemporary art competition’s 10th anniversary and honor the Best in Show winners from the past 10 years. In conjunction with the Bethesda Arts & Entertainment District and the Bethesda Urban Partnership, Trawick will hold a special “best of the best” competition and exhibition, featuring artwork by winners from 2003 – 2012.

A jury comprising the 30 jurors from the past 10 years will determine one “Best of the Best” Sapphire Award winner, who will receive $10,000. In addition, one artist, chosen by the public, will win The Trawick Prize 10th Anniversary People’s Choice Award. View the artwork online and vote for your favorite artist. The artist who receives the most votes wins $1,000.

Artwork by each of the artists will also be on display Nov. 3 through Dec. 1, 2012 at Gallery B, 7700 Wisconsin Avenue, Suite E.

Please choose one artist below:

Lillian Bayley Hoover

This series, Sites of Power, explores structures in which power, an abstract concept, is embodied or performed. The paintings are based on my photographs of the scale models at Istanbul’s Miniaturk theme park. As imagery is translated from one medium to another, it becomes distorted: the “real” is processed and filtered, creating distance between the viewer and subject. Painted with a clear reference to their photographic sources, but with severe cropping and awkward point-of-view, the images are reduced to formal composition, pattern and color, remaining only minimally recognizable. These quasi-abstract paintings thus return the reified concept of power to an abstract state, denuding the structures of the power they once wielded.
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Richard Cleaver

"My sculptures integrate ceramic, which is the primary medium, with wood, fresh water pearls, semi-precious stones, gold leaf and oil paint. They are made complete with secret compartments which serve as hiding places for multiple and oftentimes personal meanings. My recent work is based on narratives drawn from personal and historical events that are overlapped with subconscious images. The figures are like actors on a stage, enigmatic yet tense, while being enveloped or encrusted within layers of overgrowth concealing a world within."
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Mia Feuer

"I construct works that investigate the tensions of separated or violated spaces. I create the illusion of collapsing architectural elements, failed infrastructure and destroyed landscapes. I spend time observing locations that resonate not only with my interest in social justice but also with my Jewish upbringing. I have traveled to and created works in response to time spent at places such as the ominous Megiddo Intersection near Nazareth, a checkpoint in Bethlehem, an evacuation route in Washington D.C., a burnt down police station in post-Mubarak Suez, a crumbling ancient city in Jordan and the toxic reclamation sites in the Tar Pits of Northern Alberta. My work may appear destructive, but I believe it serves as a provocation towards a new beginning in the re-imagination of the physical world."
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Maggie Michael

Maggie Michael was born and raised in Milwaukee, Wisconsin. She has lived and worked in California and lives and works in Washington, D.C. Michael’s studio is between the Potomac and Anacostia Rivers, which are essentially between political and cultural paradigms within one city in one nation. Current projects, work, and paintings mediate double entendres, like a swinging door, between existential, linguistic and political unions.
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Jiha Moon

"My images are cultural landscapes that look familiar and odd at the same time. I am a cartographer of cultures and an icon maker in my lucid worlds. I take cues from wide ranges of history of Eastern and Western art, colors and designs from popular culture, Korean temple paintings and folk art, internet emoticons and icons, fruit stickers and labels of products. I tease and change these lexicons so they are hard to identify, yet stay familiar. I have realized that blending cultures and making hybrid images is to be almost against people’s natural impulse to try to identify and categorize things in this world. I am purposefully making images that are hard to identify where they originate."
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David Page

"We are the descendants of the fearful and the jittery. Our ancestors were the ones that understood that the crack of a twig or a fleeting shadow could mean the difference between eating dinner and becoming dinner. These adaptations, essential to the survival of our primitive former selves (unsure of their position in the food chain), serve us poorly in a technological society. Having done well for a species of slow, hairless bipeds, we have difficulty distinguishing apparent threat from real danger. These outsize reactions to perceived threat: massive retaliation, disproportionate punishment and binary, “you are either with us or against us” tribal logic, create a paradoxical situation that is less stable as a result of the intended remedy."
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James Rieck

"I enjoy images of beauty.
I used to be a decorative mural painter, where I spent years trying to make one substance appear as something it's not, usually more expensive and refined, in the pursuit of “beauty.” Painting was a vehicle of class and advantage, carrying notions of success and arrival into the world of the elite, and now I struggle with my intentions to paint beautiful pictures. I begin my compositions by cropping images using the devices so often found in advertisements themselves, in particular that of cutting the figure in pieces. Doing this allows me to redirect the focal point to discover other subtle, non-verbal cues that point more directly at the reality of what is really going on."
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Jo Smail

"I scavenge my own history.
I rummage, cut, tear, sew, paint and glue.
The only constant is the canvas and its threads. Beginning from zero (void/blankness/silence/nothing).
Contradictions co-exist, reflecting different ways of thinking.
Humor leavens the wounds."
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Rene Trevino

"History is subjective; there are so many blurred lines and so much distortion. Context and point of view is very important, one person's hero is another person's villain; it depends on who tells the story. As a gay Mexican-American, I have always felt excluded and under-represented by history. By working from old photographs and using history as a backbone for a lot of my work, I can reweave these “lessons” of the past. My work is an attempt to make our already complicated history even more complicated. The more layers that I present, the closer I can get to something that might resemble truth."
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