Check out our list off all Uproar works of art, artist statements, and their prices (if applicable). Works are listed alphabetically by the artists' last name. Interested in purchasing an Uproar piece? Click on "Contact" in the menu at the top of this page, or call our office at 919-245-2335. Sales, including tax payments, will be handled by the Orange County Arts Alliance. The Arts Alliance will retain a 20% commission on any work sold during the festival.
$4,000 (all four); $1,000 each
South Asian women have draped themselves in colorful silks and cottons for eons. The ways they’re made and worn are dazzling and diverse. The word “saree” means “strip of cloth” in Sanskrit. Every saree has a story about the society and people around it. This installation aims to showcase 4 different varieties of the saree. I hand paint related tribal and folk styles of art from the relevant state, highlighting an art style of that state.
A carved limestone form of my own hand on one side and then as a visual counter on the other; the bones. The bones that will outlast the flesh. This work falls into a series that I have used as an explorative visual dialogue, my “Memento Mori “series. Memento Mori; or remember death is a reminder of our shared mortality. Alpha and Omega: a beginning and an end; we have no control over either, but we can strive to leave a legacy of our time between. For me, through my stone sculpture.
ANNOUNCEMENT: Unfortunately, "Alpha and Omega" by Paris Alexander (No. 46 on the map) was vandalized and has since been removed from its location at 140 West Plaza in downtown Chapel Hill. Chapel Hill Police have been notified about this incident.
Oye Buey, translates to ‘Hey Ox’ in English, and serves as a rhyming pun in Mexican Spanish for the slang, “Hey dude.” The ox is prevalent in Latin American and Asian cultures representing strength and prosperity. The ox was also a part of early Americana farm life. A horse can also be seen within the piece - an animal that was brought to the New World by the Spanish in 1493. The allegory of two animals with complementing strengths while also imposing on the other aims to speak to the complicated history of Latino labor movements and current day workforce in the US.
Persistence in difficult times is the art I’m most interested in. Repurposing castoff highway equipment allows me to communicate with an audience that might not venture into a gallery or museum. "Signals & Warnings" consists of axioms I have composed and delivered. Constrained by the dictates of DOT standards and my ability to coax obsolete electronics to speak my desires, I feel compelled to communicate something that might resemble truth with the borrowed authority of municipal decree.
Throughout time & many traditions, the Blue Lotus flower is a revered symbol. The illusive flower is associated with the attributes of purity, fertility, compassion, transformation & enlightenment. In Egypt, it is a symbol of the majestic Nile River! During this time of regressive health & reproductive freedom, I think of a time when equality, regardless of race, gender & ethnicity, is transcended as though human life on Earth depends upon it, as it does! The Blue Lotus Goddess offers this hope.
This piece was created out of a desire to honor the courage of humans who choose to don their favorite lipstick, either literally or figuratively, and step up to face the day’s challenges however daunting they may be.
This figurative bronze and steel work was created all over North Carolina! I began the life casting process by asking my model to meditate on the familiar feeling of being inspired (during her own musical performances) while completing the mold making at her home in Raleigh. I prepared the wax work and spru-system in Greenville and did the bronze casting at Liberty Arts Foundry in Durham. The hair was forged from round rod into ribbon-like strands during a two week session I attended at Penland School of Craft in the mountains. This sculpture is one in a series of figures I created for my MFA thesis that are now installed throughout the eastern U.S.
My installation work as a whole memorializes personal moments and memories in immersive formats. I offer these glimpses into my daily life as a queer Southern woman to help create connections. I use simple geometric forms and familiar imagery to create universally accessible artwork that challenges the perception that our differences have to be larger than life, and I hope to create spaces and conversations that help bridge those differences.
It is truly amazing the bond that forms between a mother and child right from the start, a relationship of love that lasts forever. I became inspired to create a mother giraffe with a teenage calf standing together and showing that no matter how much time passes by, the love between a mother and child will always exist. This piece focuses on the Western African Giraffe, who is now on the endangered species list due to intensive farming that is taking away from these animals’ habitats.
"Taking the Trade" is a part of Emotional Signage, a body of work which focuses on the interior and exterior nature of a feminine body. These forms draw a connection from the aesthetics of buildings to the physical body, exploring the duality of masculinity and femininity within the self, highlighting the dichotomy of living in a world that chastises bodily autonomy while also exploiting it. These pieces are a means to explore feminine ferocity as a tool to combat the weight of lived misogyny.
"Totem of Potter's Creed" represents the artistic variety of select potters in the ClayWorks Guild. It is hoped that the people who view, touch, and reflect on this piece will embrace the diversity of the individuals who create each bead and appreciate the overall cohesiveness of the structure.
A common denominator for all people, our hand allows us to communicate, touch, play music, and build masterpieces. It is a marvel in its complexity and functionality. An open hand is universally understood as a sign for “welcome.” In our current climate of negativity and divisiveness, I hope my sculpture can stand as a powerful symbol of positivity and hope. By embodying the timeless gestures of a handshake, or a wave hello or goodbye, this piece reminds us of the importance of communication, caring, and understanding. Amidst the challenges we face, kindness, compassion, and the simple act of extending a helping hand can bridge divides and inspire a more harmonious world. I fabricated the wrist to replicate a fractured Roman column. Likewise, the hand-made mounting rivets recall antiquity. For construction photos, see: https://www.joecoates.net/open-hand
The land we call North Carolina is undergoing constant change - change that is rather hard to notice at the scale of a human life. In just the last 2.58 million (2,580,000) years that modern humans have existed (the most miniscule speck of time when compared to the 4,500 million (4,500,000,000) years since the earth formed), eastern North Carolina has repeatedly been submerged under the ocean during warmer eras, and thrust back above the sea during global ice ages. The first humans to arrive in North America around .013 million (13,000) years ago, near the end of the last ice age, found a land filled with megafauna like woolly mammoths, saber toothed cats, and enormous sloths the size of cows. Fossil records show both mammoths and mastodons lived in eastern North Carolina, their population slowly dwindling off with the arrival of humans. This mammoth, built from local bamboo and hemp twine, won't leave a fossil record, though. Like countless other fantastic and extinct creatures through the millennia, it will eventually decompose without leaving a trace.
$14,000 for painting + $12,000 for visual mapping system
What was the name of the pet that changed your life? The creature who, irrevocably, altered me was named Meeka (I mostly called her Moosh). I’m not sure who saved who, more, in our connection. Yet, that connection was what made life worth living. She wasn’t the most affectionate cat in the world (not all the time, anyway), and I knew she loved me but, it wasn’t until the last 24-48 hours of her existence that I realized just how much she loved me. The only person she wanted around was me. She gave me a lot of things over the years: laughter, silliness, adventure, companionship, hope but, the biggest gift she ever gave me was an 180 degrees shift in how I saw myself. If that wonderful, little creature felt safe enough with me to want me to be there when she left this world. So, as you look at this painting…I encourage you to remember the animal that changed you and, gently, ask yourself this: How do I see myself? How did my pet see me? Are those two perspectives different? If they are, which would you rather believe in? Lean into the lesson your animal came here to teach you, whatever that may be.
Cricket Forge is a sculpture fabrication company currently comprised of six artists. We are a design/build business, not only for our own work, but sometimes work for other artists. Our specialty also happens to be robust, large-scale, interactive butterflies, which are as imposing as they are beautiful.
Steel Plate Dancers is a totem-like sculpture of three abstract women dancers. Each strives to give movement, life, and whimsy to industrial steel plate. They are inspired by punk, Calypso and clogging dance.
I create figurative sculptures using metal and ceramics. Through my work, I explore the duality of spirituality and agnosticism and the opposing relationships between magic and skepticism in contemporary life. Clouds symbolize both humanity’s connection to the planet and are often used in religious art to symbolize heaven or accompany deities. In the face of climate change, my work is reflective of this crisis, exploring the concept that clouds could be vessels for consciousness.
Email Leroiderubertis (at) gmail.com for pricing
In past installations, I exhibited small delicate wire characters en masse to speak to fluidity, individuality and collective humanity. For this installation, as my personal choices are guided by environmental impact, I considered our impact on the space we inhabit, and the mark we leave.
Small Beings Helping Each Other, is a work that seeks to exalt the spirit of struggle, equality, and reciprocity of the citizens of this city, regardless of their differences. In fact, the figurines in this work do not have a defined face, nor gender since their differences do not matter; the only thing that moves them is the same goal of progress and fraternal union.
We create installations that explore the interplay between light, space, and technology. Our work seeks to challenge the limitations of the digital world and create spaces that encourage a deeper connection to the Here Now. Through the use of translucent acrylics, our installations transmit visual information in the form of colors and figures. By manipulating light, we transform spaces and create immersive environments that invite viewers to engage with their surroundings.
$14,000 (-$500 if wall mounted)
Mandalas were born from the Eastern traditions, most notably the Tibetan Buddhists, where certain symbols and structures are intentionally used to convey specific teachings. They were later psychologized by Carl Jung and viewed as a sacred art that is both universal and unique. Universal in the sense that they are seen as an archetypal image of wholeness; unique, as each is specific to its creator and symbolic of their personal internal world. A mandala is a container of consciousness. This five-foot mandala signifies Jung’s individuation process, or the return to Self; a process by which the conscious and unconscious aspects of a person become fused together. This is depicted in the maze, where three dis-integrated parts enter the growth path in the phase of disintegration (approximately 5’o’clock position) and exits the maze as one integrated whole in the identity phase (2’ o’clock).
As an illustrator and sculptor, I often work in short, series-based formats, creating iterations around central or overlapping themes. I am influenced heavily by WWII military history, human anatomy, and science fiction. Many of my sculptures exist as sorts of science fiction trophies, combining source materials paired together in a quantity of three, with a focal piece at the top. However this piece in particular is an abstracted representation of an anatomical model of the human nose.
I have discovered the breathe within the beams.... the toughness and rigidity of the beams evolves into a celebration of Mother Nature and the Human Spirit, which blossoms and grows within the industrial beams, embracing the union of lovers, the bonds of family, or the strength of community.
There once was a beautiful proposal back in 2013 to pay tribute to Harriet Tubman, her unsurpassed bravery and hard work towards abolition, by featuring her portrait on the US $20 bill. 10 years later, this fabulous concept has yet to come to fruition in the mint. I have been developing a technique for mimicking the look of intaglio etching using spray paint for the purpose of creating a mural of Harriet Tubman featured on the US $20 bill. Every attempt yields better results than the previous one. As Harriet would famously say,”keep going.” We need to continue moving forward. Let us not forget, rewrite or dwell in our past. Let us move forward and create a future where all human kind can thrive! It’s long overdue, Let’s go!
Painting is an extension of the parts of myself I cannot, or don't know how, to verbalize. I aim to visualize heightened moments of awareness and realization, capturing one's essence rather than physicality, to give inactivated spaces poetry and ephemerality. I feel an urgency to bring moments of tenderness to every day spaces through large scale painting and to activate overlooked areas with visual poetry.
In our daily lives, we sometimes feel stuck, held back, or stagnant. This portal invites you to dream a new reality into existence. As you walk through this doorway, listen closely to a future version of yourself calling you forward with delight and possibility. We encourage you to take a picture of yourself within the portal and share a vision of your future self with us on social media using the hashtag #PortalToAFutureMe. From one dreamer to another, sending you unlimited blessings on your journey!
My sculpture for the UPROAR festival features a compacted styrofoam dog named Melman, from the City of Hillsborough, adorned with various recycled materials , highlighting waste reduction and the environment. The piece aims to provoke contemplation about our relationship with animals and consumption habits. It encourages action towards a more sustainable future.
“United We Stand,” created by artist and psychologist, Dr. Sheila Adams Hart, is a multi-colored aluminum rainbow. The psychological intent of the symbolic imagery is to illuminate the perception of the beauty, strength, and overarching potential impact of unity.
The blue-footed booby sculpture was originally created to celebrate the 10th anniversary of the UNC Center for Galapagos Studies by bringing awareness to this unique sea bird. The piece was displayed at the Coker Arboretum in Chapel Hill from May 2022 to January 2023. The front side of sculpture depicts the iconic bird, including its “Carolina” blue feet, in its comical mating dance pose, standing inside its guano ring nest. The other side was added specifically for the Uproar art show and presents the bird in its spectacular feeding dives. The sculpture was created using 98% repurposed or reused materials. The bird is carved out of architecturally salvaged cedar, and the base is made from concrete block salvaged from Chapel Hill's beloved Sea Turtle mural wall, which was demolished in August 2021.
I create figurative assemblages from found objects and have collected barrels and boxes full of oddments: scrap metal, wood, ceramic, glass, and plastic from the ground, metal recyclers, junk car yards, thrift shops, flea markets, donations from friends, and roadside discard piles. I mainly design human and animal figures but also create some larger pieces as garden sculptures. This piece was inspired by my love for history and family - a totem of individual persons but part of a whole family.
Sometimes we dare fly to the sun in a Hail-Mary to win the promise offered in the promise land. Once in a while in our attempts, we find ourselves falling on the other side of the sun into the beyond. This piece represents the beauty and triumph when someone comes out on the other side of psychosis and found schizophrenic order after trauma. I believe it is the destiny of all person to receive the grace that awaits and the completion of our heroic journey.
Claire Kiester is a fiber artist, printmaker and educator from Chapel Hill, NC. She completed her BFA at the School of the Art Institute of Chicago in 2021 and now resides in Charlotte, NC. Claire uses printmaking and crochet techniques to search for deep emotional connections hidden in everyday objects. Claire's work champions accessibility, often featuring recycled materials. She works to educate and inspire young artists within the discipline of printmaking.
I love to work with bright colors and shiny objects - literally and metaphorically speaking - involving topics that often have a darker subtext. This is true whether I am making a painting or a sculpture. The goal of my art is to awaken subconscious minds, and to ignite conversation. I made "The Love Goddess" sculpture with the Progress Pride Flag colors on one side that says "More Love", while the other side says, "Imagine Peace," two topics we could all use a bit more of, Love & Peace.
My painting "Iceberg" was conceived in Svalbard, the Norwegian Arctic while producing work for “Ice Counterpoint," a multimedia exhibition at UNC Chapel Hill's Global Education Center. Much of my work is about climate change and what is being lost as a result of global warming. It is important that such images appear in public art spaces to ensure ongoing dialogue about this issue. My website is being promoted by Disney and the UK Times Educational Supplement for use in schools. I am a member of FRANK Gallery. Thanks to photographer Avery Danziger and to Signs Now, Chapel Hill for banner production.
"Moment of Meeting" expands my studio practice, where color and abstraction investigate the psychology of day-to-day life. Self-identity and self-perception are abstract ideas, informed by our communities, environment, and experiences, reflecting a continuous effort to find balance between who we truly are and how we present ourselves to the world. Specifically, I draw on the emotions and thoughts that come from chance meetings: in the store, passing on the street, at a bar or restaurant. Who are we in those moments, and how are we perceived? Sometimes, thanks to the reflection of someone else, we leave these interactions feeling invigorated and even more like ourselves than ever before. This piece, existing in the public realm, amplifies and embraces the idea of human connection and is intentionally open-ended, as we all are, waiting for input from you.
Education is immensely important, but education can also be painfully dull. Skateboarders have always run counterculture to the education system, and the act of skateboarding is never perceived as being as valuable as being in a classroom. I believe that skateboarding can give just as valuable of education as a learning institution can (if not more). I recreated this classic school desk using 100% recycled skateboard decks to remind people that education comes in many forms.
Four Leaf Clover is a wood and recycled tin roofing sculpture. My inspiration came from finding the key components of a very ornate rose window in an Irish monastery. These ideas were combined into a new composition with an old feel. The aged, pitted textures and various colors of naturally rusted galvanized tin create a medium perfectly suited to the old and ancient patterns I apply. From a distance, my sculptures appear to be constructed of cast iron or stone. I am not driven to things that are bright and brilliant; rather, I am an old spirit discovering ancient patterns and truths while preserving a sense of astonishment.
“Pulp People” are life-sized figures formed from cardboard, which calls attention to life’s uncertainties underscoring marginalized individuals. The material, though ordinary and mundane, relates to the cardboard messages people hold up and the paper shelters they carry with them; and, in my work, have become what they carry. These figures' presence reminds us how vulnerable we can be to unexpected circumstances and how fragile life is.
It’s only human nature to want to define our relationship to the world: to explore our sense of nostalgia, or a curiosity about the history of an object. We create totems, talismans, and tokens to preserve the memory the objects and ideas that have come before us. In "Totem: Mother Nurture," I want to explore the interconnected relationship between humans and nature. All of the materials were sustainably collected, scavenged, foraged and sourced from within a 5 mile radius of the Eno. From the cow skull I could while fishing as an 8 year old, to the railroad spikes and Tak-a-Cola slag glass we pulled out of the river as kids, to the turkey tail mushrooms I forage and paint today, these objects explore the sense of time and reciprocity. As a multi-media artist, I love the idea that the materials will guide my process. I like to think of it as an unintended collaboration with nature. This installation is in honor of my mother, Jane Maske, who was always my greatest artistic supporter.
Every family has at least one family member they tell stories about. Ethel was a piece of work, who even years after her death continues to be a family legend. Her reputation still looms largely over younger generations who once rolled their eyes at the stories. Not so young now, these same relatives look to Ethel as inspiration.
"Braid," as the title suggests, is composed of three twisting, interlocking strands. The fluid curves defy the hardness of the aluminum material. It can be viewed abstractly, for its sensuous lines, sense of motion, interplay of open spaces, etc., but it can also be understood by a child as being simply a braid.
I am a tentmaker. My physical home is often tentative and temporary, so I have made an art practice out of being pushed and pulled around- my home is mobile, always on my back. I have a safe place to shield me even when I am in an inhospitable environment. For this festival, I installed a small hexagonal tent that has been patched together with old sheets, and on the ceiling of the space, are words directly letterpress-printed onto the fabric.
Cirrus Veil is a four-piece work fabricated in perforated stainless steel. It is a concept envisioning the movement, interplay, and translucency of high-altitude cirrus clouds. The work produces a range of visual effects from see-through to opaque depending on the viewing angle and amount of sunshine. The idea is to capture the ephemerality of cloud formations, bringing into our consciousness things not often experienced, like when you happen to fly through clouds on an airplane. The work was created in scale models, detail drawings and material specifications by the artist, and was fabricated by Cricket Forge of Durham, NC.
$500 for two banners; $250 for flag
These pieces are in direct reaction to anti-trans, anti-drag, anti-gay legislature, and cultural attitudes being pushed forward. It feels like an intimidation tactic to make our bodies, art, and identities illegal. We made these pieces with a sense of urgency with the materials we had on hand. Pillows we slept on and clothes we wore as trans people. It is meant to be intimate.
I am an abstract painter interested in visualizing chance. In “Half a Chance” (sewn by Barbara VanDewoestine) half the design was left to chance using a computer randomization program. The order of colored stripes in two quadrants is randomly determined, disrupting the planned pattern. This dynamic uncertainty alludes to chance’s hand at life’s start and trajectory.
A young man with a small cocoon in his hand watches in ecstasy as a group of butterflies settles around him. Butterflies represent change, joy, and freedom. In the hands of the young person is all the potential energy to undertake all those changes necessary to transform the negative aspects of life into positive ones.
As an artist, I look to paint on anything I can, adding color and lines to forgotten spaces. Traveling and getting lost in nature inspires the miles of painted lines, filling the outlines of visions I have seen. In a sort of single-file consciousness, I invite the viewer to get lost in the vibration and movement of each painting. I hope you have a wonderful day and enjoy yourself!
Mia Alexander Nguyen, from Charlotte, NC, is a mixed media artist intent on creating interactive spaces that challenge one’s natural inclinations. This installation warns of the dangers that emerge from an obsession with personal productivity. You are invited to step into caution-colored honeycomb frames to reflect as you become acquainted with the dead “busy” bees enshrined within them.
During my time at the Eno River Mill, I would take walks along the river. I felt a deep connection to the land and the water. I wanted to create a painting that honors the peace that I found while exploring the Occoneechee Mountain.
The words we use are a valuable commodity. Spoken words derive from internal dialogue. That dialogue is regularly limiting, negative, and does not serve us. This piece aims to flip the script on our self thought -- a literal change in perspective to share some unwavering optimism. With the use of a little optical illusion, this lenticular sign has a chance to share two bold hand painted messages.
The inspiration of the sculpture, Hathor, comes from the ancient deity of the same name. She was the goddess of beauty, sensuality, music, dancing, and maternity. She was a protector of women, though men also worshipped her. Hathor was depicted as a cow, symbolizing her mental and celestial aspect. She could also be represented as a lioness, a cobra, or a sycamore tree.
Iridescence has profound mystical connotations spanning for centuries and across numerous cultures. It is associated with healing, protection, hope, vitality, and connection with the divine. Active visualization of iridescence surrounding my body is a healing meditation I've used to recover from a car crash and traumatic brain injury which upended my health, personal life, and career in architecture. This installation is structured to facilitate an unrehearsed dance by nature -- one driven by wind and sunshine. The Vital Cloud hovers over visitors, infusing all who pass under it with energy that is healing and protective.
As a former car mechanic, I like working with car parts, agricultural machinery, and other machine parts. It makes me happy to use old parts and put them together for another purpose. This piece includes clutch plates, transmission gears, brake boosters, a muffler, and an exhaust pipe. The bell is made from an old carbon dioxide tank from my welding machine. Please feel free to ring the bell!
My sculptural work explores emotional responses of attachment and loss. The figures and objects that I create reflect sensations of unease and oddity. My work incorporates the human body and common everyday objects to inspire relatability. "Don't Tell Me To Get A Grip" depicts the human form sitting in a chair in a state of anxiety, forming a connection with the viewer by capturing a moment in a feeling; the piece becomes a conversation of the human struggles and victories that we experience daily.
I am a painter, printmaker, and muralist using abstract forms to represent real concepts centered around the theme of possibility. My work employs the tension between order and surprise to spark a change in perspective. I create implausible optimism, where too-large shapes balance on too-small shapes; where a scratchy cobalt arc becomes a portal to another world. I want viewers to find the story and lose themselves in the work, whether it’s a giant mural or a tiny canvas.
This colossal dream catcher represents the many paths that I took along my artistic path. As the spider weaves her web, I was able to weave the different fibers of my life together to create a physical manifestation of my life’s creative journey. This piece of art brings each unique creative experience of mine together to form a collective bonding of the phases of my artful journey. Each mandala is unique, no two are the same. What unites the circles is the crochet technique and color family that I used to craft each circle. Color and texture is my creative passion. Creating this dream catcher and uniting the different phases of my artistic process together through string brought a full circle moment for me in my journey. The colorful fancy ribbons represent the many different and unique people that have been in my life. Each ribbon a prayer to the Divine.
$23,500 / $64,500 for all
Nature and industry inspire my work. I strive to bring animation, balance, and intrigue to my creations, playing with gravity, but keeping trust between the piece and its landscape. My hope is that my work invites the viewer to play, question, and respond. My greatest satisfaction is bringing a smile, inciting a conversation, or inspiring a new creation.
This scrap metal sculpture reflects an idea about the important balance between our earth and our life. Spirit, as the bald eagle becomes nonpredatory by spreading seeds with caring adoration over our mother earth with the intention of doing good. Spirit carrying the seed pods in flight shows a grand act of kindness, love, hope, and growth for our planet. I'm a passionate recycler, so being a scrap metal-only artist suits me perfectly. I let the trashed objects guide me to create artwork that's different and unique. The metal is usually in bad shape and requires time-intensive preparation before it can be used in creating my artwork. Every piece of this artwork was hand-cut, from salvaged metal objects and designed, and welded with my own style and vision.
Explore the personal impacts of climate change as this looping projection weaves a past-present-future tale incorporating diverse creation narratives, including the Judeo-Christian order. This is a unique story-telling experience embedded with local landmarks and reflections by local residents. The surreal progression takes you on a journey through the industrial age to the present moment, when the climate crisis is recognized not only as the greatest threat to U.S. national security, but as a potential catalyst of mass extinctions and a food chain disruptor. The piece ends with a future that is still unwritten—waiting on the actions, or lack thereof, we take as a society at this pivotal point in time.
"What's Up?" is an homage to my mentor O.V. Shaffer. Over the many years I worked with him, we each made miniature sized whimsical welded sculptures. They would usually be figurative and would depict the human form in different configurations. The "What's Up?" upside down figure was one of the most frequently used ideas. I thought it would be interesting to take one of these miniature forms and scale it up to life size. I think in this scale it still remains whimsical.
1st Place Jury Selection: $10,000
2nd Place Jury Selection: $5,000
3rd Place Jury Selection: $2,500
People’s Choice Winner: $10,000