BEACON FOR THE FUTURE

BEACON FOR THE FUTURE

This Deadline Expired: Monday, June 1, 2020

An open call illuminating Philadelphia’s mindsets & guiding our choices

AN ONLINE EXHIBITION

OPENING June 3, 2020 – CLOSING July. 20, 2020

SUBMISSIONS DUE June 1, 2020 11:59 PM

The HOT•BED Beacon for the Future is activated – our future, the future of our gallery, the city of Philadelphia, our country, and the world.

Beacons are guiding lights and have been a part of humanity’s existence since our beginnings. They have changed over time from simple signal fires to towering lighthouses guiding boats safely into port. Light emanates from the beacon symbolizing the internal work we must do. The HOT•BED beacon exists in order to guide us through our current state of revival so we can emerge stronger and thrive.

The beacon is a physical representation of a state of mind we’re calling “Growth Determined.” Its purpose is to remind us that we have the ability to choose our mindset. Our city’s growth is being determined right now by the thinking and actions of each of us.

The “Growth Determined” mindset exists alongside the “quarantine state of mind” as an option and as a choice in a world of freedom where all mindsets are possible, accepted, and explored.

 We are welcoming multidisciplinary submissions in response to the HOT•BED Beacon for the Future. We want to see what a beacon for the future looks like for everyone in Philadelphia. Let all of our beacons shed light on the determination that defines our city. Each piece in the show will illustrate how Philadelphians are growing in the face of this unprecedented experience. All submissions to this online art exhibit will be accepted.

 The HOT•BED Beacon for the Future was activated Sunday, April 16th at 12:00 AM. Produced by Artemide, lost to time, and rediscovered by gallery owner Bryan Hoffman, the Beacon exists in solitude within the white box gallery at 723 Chestnut Street. The Beacon is calling you to share yourself and stand firmly for the future you want, as opposed to just reacting to present day realities we don’t like.

Learn more about submitting here.

I enjoy the manipulation of materials and how process itself contributes to the life and form of the image. Dramatic, gestural lines describe the play of light and wind across the water, while softer marks add life to the slow movement of rain laden clouds. Areas of sky, water, and land are knit together with brushstrokes to represent their seamless interaction under the common conditions of weather and time. In my acid etched tin pieces, areas of watery marks are left visible to suggest the underlying layers of the landscape. I  do not strive to recreate the particulars of  places that inspire me, but rather the timelessness of the elements of light, weather, and geometries that inform them. My work is not about how the landscape looks as much as about how the landscape makes me feel. I try to create an image that allows the viewer to engage with it in such a way as to invite similar introspection.
Kirby Fredendall
Kirby Fredendall

I enjoy the manipulation of materials and how process itself contributes to the life and form of the image. Dramatic, gestural…

I enjoy the manipulation of materials and how process itself contributes to the life and form of the image. Dramatic, gestural lines describe the play of light and wind across the water, while softer marks…

I enjoy the manipulation of materials and how process itself contributes to the life and form of the image. Dramatic, gestural lines describe the play of light and wind across the water, while softer marks add life to the…

Ekaterina Popova
Ekaterina Popova
Su Knoll Horty uses bold colors to explores the power of color to elicit emotion, Su sees it as her task to convey the exuberance she feels when working with the saturated colors in her painting. She is fascinated by the spatial dimensions, which can develop through the relationship of colors.
Su Knoll Horty
Su Knoll Horty

Su Knoll Horty uses bold colors to explores the power of color to elicit emotion, Su sees it as her task to convey the exuberance…

Su Knoll Horty uses bold colors to explores the power of color to elicit emotion, Su sees it as her task to convey the exuberance she feels when working with the saturated colors in her painting. She is…

Su Knoll Horty uses bold colors to explores the power of color to elicit emotion, Su sees it as her task to convey the exuberance she feels when working with the saturated colors in her painting. She is fascinated by the…

Cameron Jarvis
Cameron Jarvis
My life and my perceptions are the subjective drivers for the pictures I make. Making a painting is, for me, an exploratory process toward understanding, not an expository declaration of a position already held.
Daniel Dallmann
Daniel Dallmann

My life and my perceptions are the subjective drivers for the pictures I make. Making a painting is, for me, an exploratory…

My life and my perceptions are the subjective drivers for the pictures I make. Making a painting is, for me, an exploratory process toward understanding, not an expository declaration of a position already…

My life and my perceptions are the subjective drivers for the pictures I make. Making a painting is, for me, an exploratory process toward understanding, not an expository declaration of a position already held.…

previous arrow
next arrow