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���Ҵ�ý�ƽ������ alumna Martha Russo and Professor Emeritus George Rivera currently are displaying art pieces in Venice, Italy, in an exhibit organized by the European Cultural Centre

Let’s wander, as the title of Martha Russo’s work might advise, to a bright, airy space in the Palazzo Mora in Venice, Italy.

There, on a short white platform, is “nomos (cube Venezia),” Russo’s three-dimensional piece sculpted from porcelain, paper clay, wood, metal and paper, among other materials. Its title is derived from the Greek root for “nomad” and can be translated as “to wander” and “to wonder.”

There are a lot of things to feel and question while observing this piece—in person or from every angle in photographs. Is it reaching for the viewer? Sending shoots and tendrils toward them? Does a brief glance from the corner of the eye reveal that it’s actually moving? Are its thousands of pieces a living ecosystem?

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George Rivera (left) and Martha Russo (right) outside the Palazzo Mora in Venice, Italy, where their works are featured in the exhibit on display through Nov. 22.��

In a gallery next door, a different experience: 16 two-dimensional, 11x14 pieces tiled on a wall in an array of earth tones that speak of the Amazonian plants from which the inks were made.��

And in the images themselves, a journey through the liminal space between consciousness and unconsciousness, shapes and figures whose meaning may depend on the viewer, giving rise to the title “Mutations: Subconscious Reality Imagery.” Artist George Rivera writes, “These images appear as figurations resembling reality but manifest themselves as completely different in form and color.”

Both pieces are featured in the exhibit on display through Nov. 22 in Venice, organized by the European Cultural Centre (ECC) and held concurrently with the famed international art exhibition. And both pieces have long roots that stretch to the University of Colorado Boulder.

, whose for the ECC Awards that will be announced in November, is an art and art history alumnus who has shown around the world and who also teaches an interdisciplinary ���Ҵ�ý�ƽ������ course called Art, Design and Engineering, in which a cohort of upper-level art, environmental design and engineering students learn about sculpture and public installation.

Rivera is a professor emeritus of art and art history—a sociologist by training who pivoted to art and in 1996 became one of the founders, with several ���Ҵ�ý�ƽ������ colleagues, of the Artnauts collective, whose more than 220 participating artists, including Russo, have worked across art, activism, social practice, peace building and global issues around the world.

As for how their work came to be in a centuries-old palazzo in Venice, well, the art world is small, and it started with an interview.

Enjoying the physical challenges of art

In 2020, writer Ann Landi interviewed Russo for Sculpture magazine. By that point, Russo had grown an international reputation as an artist—showing around the world, known for large-scale pieces that blend media, particularly ceramics, and incorporate abstract shapes that reference the natural world, animal and human forms and fantastical imagery and imaginings.

"I really enjoy the physical challenges of my work,” Russo told Landi. “I also like the science behind it. I was a developmental biology and psychology major, and I had my eye on going to medical school or becoming a psychologist. I��was drawn to the materiality and the chemistry of clay.

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"nomos (cube Venezia)” by Martha Russo "explores how the abstraction of form, material and gravity couple with a cacophony of color and texture to generate openings for prolonged investigations and enticing a flood of interpretations," Russo explains. (Photo: Matteo Losurdo)

“I loved the idea that you could make clay do different things because of the molecular structure, and that structure made perfect sense to me because I was looking at molecules and thinking about how things generate in the body. The chemistry behind the glazes was also fascinating. To this day, I am drawn to those mysteries and all the infinite possibilities.”

Part of Russo’s interest in the mechanics of the body, she says, arose from a career-ending injury that took her from 1984 U.S. Olympic field hockey hopeful to a Princeton senior recovering from surgery and increasingly drawn to the physical nature of sculpture and ceramics.

In 1991, she and her husband, Joe Ryan, a ���Ҵ�ý�ƽ������ professor of environmental engineering, moved from New Jersey to Boulder, and several years later Russo began her MFA studies. She taught for 20 years at the Rocky Mountain College of Art and Design, growing her art practice and reputation at the same time and becoming known for her large-scale pieces incorporating hundreds or thousands of pieces that allude to natural forms.

Then came the interview in Sculpture magazine—not her first, but it was the one that caught the eye of ECC curators. They contacted her and asked if she’d be interested in showing in Venice, and they also looked into her colleagues and collaborators, including Rivera.

“Obviously you say yes when you get an invitation like that,” Russo says with a laugh. She immediately began envisioning what she would create for Personal Structures – Confluences.

“I was thinking, ‘I’m going to make a cube, but I want to have four very different experiences on each side,” she explains. “Venice is the most visually stunning place, full of texture, full of color, full of exuberance, so I took all the greatest hits from all past iterations of ‘nomos’ and made a piece that’s very vibrant, colorful, lots of movement with the pieces. I also asked if I could have natural light in the gallery, and they really gave George and me such great spaces.

“They did tell me that outside the (gallery) window I would see a very recently renovated pink and white palazzo and they sent me a picture, so I made a bunch of pink pieces that, when you’re looking at my piece, you see that palazzo. A lot of the time you put up your work and you’re like, ‘I wish I’d done this, I wish I’d done that.’ This is one of the few times I said, ‘I think I just did exactly what I wanted to do,’ and I couldn’t be happier, honestly.”

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In “Mutations: Subconscious Reality Imagery” by George Rivera, "images appear as figurations resembling reality but manifest themselves as completely different in form and color," Rivera says.

‘This is reality’

For Rivera, the road to Venice began in Glidden, Texas, where he grew up in poverty with a Mexican mother and a Mexican-American father. He was the first in his family to attend college, where he was able to name and study the disparities and injustices he’d grown up seeing. He pursued sociology, he says, because he wanted to understand racism.

After coming to ���Ҵ�ý�ƽ������ as a sociology faculty member, Rivera transferred to the Department of Art and Art History after disagreeing with how department decisions were being made, he says. He had studied Chicano art, but says he truly began to understand art as a force for activism, social practice and peace building when he was immersed in it.��

In 1996, Rivera and colleagues Garrison Roots, , and Luis Valdovino founded Artnauts, a collective that evolved over time into an artistic force that brings art into places fractured by violence, disaster or upheaval, Rivera explains. Artnauts shows frequently are comprised of two-dimensional prints that can fit into a suitcase on their way to places like Ukraine, Palestine, Colombia or the demilitarized zone at the North Korea-South Korea border.

“It’s the idea that art can be a language all people speak,” Rivera says.

In fact, the idea for “Mutations: Subconscious Reality Imagery” has as one of its roots an experience Rivera had while in Palestine with Artnauts: “We go to places where there’s been social trauma, where things have happened that represent the inhumanity of man against man. So, I was there staying at The Walled Off Hotel in Bethlehem that is owned by Bansky, and it’s located right next to the Aida Refugee Camp.

“While I was there, Israeli forces shot gas cannisters into the camp, and I was inside the hotel and hotel personnel told me, ‘Don’t go outside because your lungs are going to burn and eyes are going to burn.' So, I went back to my room, and I had olive oil made by Palestinians and wine made by Palestinians, and I always bring some paper and some brushes with me, so I used the wine and olive oil and started making images. That’s when the idea occurred to me, to use something that’s indigenous to the area to paint with.”

So, when he later was in Colombia at El Centro de Memoria, Paz y Reconciliación in Bogotá and met a shaman of the Huitoto tribe who invited him into the Amazon rainforest, he learned about inks made from plants that grow there and since then has created a significant body of work with them.

Rivera’s work in Venice harkens to the Artnauts format of two-dimensional pieces that can easily be carried in a suitcase and is titled “Mutations” because, he says, he sees the pieces “as derived from the subconscious, and the subconscious to me is something that exists between consciousness and the unconscious. Right before consciousness enters in, the subconscious is trying to make sense of what it sees. It’s coming up with these images before it locks in and says, ‘This is reality.’��

“To me, when I was in the rainforest that idea occurred to me, I looked at what was happening to the rainforest, and I was seeing these things that are not representations of what was in front of me; I was looking through a subconscious lens. That is when, to me, you turn to the spirituality of an object, of a people, you see the spiritual representations before we tell ourselves what reality is.”

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