“Opt out. Opt out. Opt out,” thrums in my brain as I look at what it meant to live in our modern world. When I am alone in nature I no longer feel like a fish stuck swimming against the current, I just exist. Originally my body of work grew from an obsessive autistic desire to share my love of biodiversity, of plants and animals, of fresh air and life. I struggled with verbal communication fighting my dyslexia and I began to incorporate psychology into my imagery. What were my artworks made of? How did this relate to my subject matter? What did every color and element convey to the viewer? Then I shied away from controversy only wishing to share my love of these things. Today, I am exploring how to address social issues such as waste in creation, environmental impact, and humanities general relationship to the natural world. I am interested in tying these concepts into the exploration of cultural thought shifts, creativity, and play in upcoming artwork."
Depending on biodiversity, life exists in a precarious balance where nature is neither romantic nor cruel. In the past, Baranyk’s work has focused on showcasing the wildlife around her. Her art connected viewers to nature, so they could feel its importance and to understand and be good stewards of the planet. During this time, she achieved the honor of having her artwork “Roots” placed in a permanent public collection on Oahu. She went on to create many other works that were shown and sold as well as the designing the concept based on mutual symbiosis for a sculptural temple in collaboration with Adam Phelps and Matt Bell.
The distance between people and nature is often exaggerated by our own perception of the world around us. Animals become sketches and outlines of things we relate to on a surface level. At present, Baranyk is working on a series that shows how we imagine the life around us, and how this lack of depth has unintended consequences. One of these works which depicts the silhouettes of moths around a glowing lightbulb is currently showing at ArtShare LA’s, ‘Let’s Hang’ salon. Two other works focus on California’s fire season. In yet another work, fish with glowing eyes (phosphorescent paint) swim by the outline of a spatula stuck in a kelp bed. And in another deer stand on a road looking out towards the viewer. Our fear and paranoia of them is a thing we have helped create. Our relationships are complicated but intertwined.
Lately Baranyk has become obsessed with polarity, tribalism, and why people change their minds. Concerned with the widening gap between identities, Baranyk has refocused some of her ideas for artwork on concepts she thinks may bring people closer together. In order to mitigate existential risks she firmly believes in promoting play and curiosity in public spaces. One work that she would like to see created is fairly simple and relies on sound. She would like a wall that sighs when leaned on, and several spots on the floor that proclaim “ouch” when stepped on. Additionally, Baranyk would like art in airports that connects travelers from other airports and allows them to communicate, real time, internationally. These communications could take the form of collaborative puzzles being solved based on the sharing of specific cultural knowledge. This project could also be scaled to connect people from different neighborhoods and work in various metro stations as well. Baranyk also intends to bring aesthetic work to places that need color and life. She wants people to see the beauty and nature in the concrete city as well. She wants to bring the styles and concepts of past and future work to life in Los Angeles.
WHAT I AM UP TO
My education was both technical and conceptual, leaving me forever at odds with myself within my artwork. Do I sacrifice concept by making polished technical pieces? I prefer to think my work reflects the kind of narrative found in storytelling. Regardless, much of my inspiration came from my teachers at UCSD. To this day I look up to Faith Ringgold, Kim McConnell, and Barbara Kruger.
Recently, I have moved to the Los Angeles area and am exploring the process of re-entering the art world.
I'm excited to make more of my art available to my friends through this site. I want to start a series of small donation based workshops for friends, and by friends where we share skills and make art in the near future.
1996-Present: Baranyk managed a career in art including the production and sale of original oil, egg tempera, casein, pastel, watercolor, multi media, wood-burnings, and scratchboard paintings. These works were shown at The Milwaukee Public Art Museum, published in the Milwaukee Journal/Sentinel Student Art Calendar, shown at the Mandeville Gallery at University of California San Diego, Viewpoints Gallery in Makawao, at the Kaukini Gallery in West Maui near Kahakaloa, at Maui Hands in both the Hyatt in Kaanapali and in Lahaina on Front Street, at the Old Jail Gallery, and the Courthouse Gallery in Lahaina, at Jaah Vintage in Boulder Colorado, at the Maui Arts and Cultural Center in Kahului for Art Maui 2010, in Oahu as part of the Hawaii State Foundation on Culture and the Arts permanent Art in Public Places Collection, and most recently at Winter Street Studios in Houston Texas.
Baranyk's artwork focuses on the relationship of the viewer to nature, and the relationship of the medium of the artwork to its messages/media.
2003-Present: Baranyk received a National Endowment for the Arts award for photography while at the University of California San Diego. Featured portraits in SEED Magazine, The Telegraph, Outside Magazine, Drift Magazine, Kika Press based in Los Angeles for the Italian publication group Ansa, and a Brazilian weekly, Epoca.
Her photography consists of portraits of both humans and nature. These photographs often have an illustrative narrative behind their imagery.