Archive for the ‘art studio’ Category
I’m nearly there! I just need some more blues in the medium darkness range of all hues. Here you can see on the white plastic sheeting some of the yarn I am dyeing over to create all the richness and depth of color in the yarn for the piece.
I am contemplating using a different size of plaque for the statements because of the nature of German (more text needs more space). This would bring the format closer to “hello my name is” labels, which I like, but I need to be sure I can find the right sized stickers for the look I want. I could physically do the text without stickers, but the label/name tag/address reference label stickers give is important to me for this piece. I may end up ordering metric ones.
From the first iterations of Identity Tapestry I’ve been wanting to create it both in a museum space and in another language. I’m pleased to announce that this May I’ll be doing both! Identity Tapestry will be up as part of the upcoming show “Identity” for four months starting this May at the Vögele Cultural Center in Pfäffikon (just outside Zurich).
I will be flying out for the install and I’m incredibly excited. Any iteration demands a look at which statements to include or leave or if new ones ought to be added, especially in a new area or situation. In this case the language use should be especially interesting because there are essentially two languages at work there: High German and Swiss German. One is the official language which is used for nearly all text, the other is the language of intimate conversations and the inside of one’s own head. Apparently it is only recently that the Swiss-German language has appeared in text, and then mostly in text messages, and only to very intimate friends. How I approach these languages and navigate translations will add new levels of complexity to the piece. Thankfully the curatorial staff is wonderful and I have a local Zurich-raised person who is willing to consult with me on language as well.
My problem as an artist has never been lack of ideas or even crafting skills. The real skill is deciding what is most important and when, what not to do, what to sacrifice, what to put the most time and effort into. Drawing itself is an act of selection- what line to place, what line to ignore, what line to emphasize, tweak, or ghost.
So right now I have a good problem for an artist- two shows at the same time. One I committed to months ago, but without a specific piece. Since I knew I could have more space for that show I prepared to spread out and create a larger installed environment. Then I was invited to be in a show in a museum just outside Zurich, Switzerland. They wanted a specific piece, and it is one I have to be there to put together. And they open two days apart.
Now that the Switzerland one is confirmed I’m turning back to the first one. Suddenly I have more constraints. Something that can run itself. Something smaller and easy to install. Still something interactive. In the case of this show, something both contemporary and Dada. I was intimately familiar with Dada before I left high school and I loved it then, but two more advanced art degrees have actually put me at more of a distance. So I dove back to the source. I re-read the manifestos, looked back at the beginnings and what motivated them. Suddenly an entire new interactive, small, easy to set up artwork burst out of my head. And it will work. And it comes right out of the unconscious pool of all the ideas I am constantly exploring. Better still, because the process of Dada involves some randomness, it will be fun and surprising to make. I’m excited.
When I have enough time and resources to do whatever I want without a burning idea starting in my mind and a place to put the result I do very little that gets finished. Give me a place, a time, and a single constraint or direction and suddenly my mind is on fire and my hands itching to create.
I am still collecting languages for my Endangered Languages Project!
What it involves: if you speak an endangered language or dialect (list here) I would want to speak with you for 15-30 minutes over the phone, skype, google hangouts or facetime. You would not need to turn on the video part if it is over the computer. Basically I would just record audio of the following:
-a word or phrase that you feel doesn’t quite translate and which may say something about the culture
-your translation of that word or phrase
-a personal thought or story about it.
Other information I’d collect is where you grew up and where you live now, and what sort of fabric you would suggest goes with the language. For example: the Irish speaker suggested a brown tweed, the Lowland Scots suggested a Douglas Tartan wool, and the Estonian speaker suggested a natural linen embroidered in a traditional pattern (which I am embroidering). Otherwise no information about you (name, etc.) would be included unless you would like me to include your name in a “thanks to” list.
I am making a sort of cabinet where the fabrics will be displayed. When a person approaches, one of the languages will start to play and the corresponding fabric with move with air as if the breath of the speaker is moving it. It will mimic a Natural History display in certain ways… except with an emphasis on these things still being very much alive.
If you would like to participate, please email me at firstname.lastname@example.org
This piece is part of a an art exhibition on Endangered Languages curated by Hanna Regev at Root Division in San Francisco which is potentially traveling afterwards. Previous post here.
My sketches are always like this- rough, scribbly, and somehow they work the best for me- loose enough for me to imagine different details. But until the other even the loosest sketch of the physical part of my Endangered Languages piece weren’t jelling enough for any sketch to make me happy.
I had been hitting a major wall with the work and it was keeping me up at night for weeks as I tossed image after image and idea after idea in my head. Two days ago I had a great conversation with a friend that helped me break through. He has helped me document my work in video and photography but more importantly he is always a great person to brainstorm with (there are two pieces we’ve thought out together that I think need to be made as collaborative works).
The thing is the process is so often in the mind. I visualize and discard so much before I start making these days. Now without having physically built anything, I suddenly have a pretty clear picture of the finished piece. Now that it’s there I can sketch and mock up and I can start building like a maniac. I’m going to build a mock-up for size and relationship to the body before I build the main object. I want to get the height and tilt angle that way. It should recall natural history museum displays… but with some unexpected twists in action.
Another thing hidden (besides things in my brain) is the thoughts and concepts behind the work. You will notice I don’t tend to explain my concepts here. I have them, usually intensely thought out (what some people would consider over-thought out), but I want the concept to be experienced and seen and heard, not just explained before people see the actual work. I want them to walk up and discover it, not come in with a thesis on it. There is also a sort of delicacy in certain stages of creation, where if you explain too much (especially to the wrong people at the wrong time) it leeches the life out of it in your mind, or it kills your drive to make it.
At the same time, I love revealing the physical process. I like to show the beauty and madness of the actual objects-in-progress and the physical experience of making the thing rather than explain everything up front.
You’ll notice the Academy of Sciences sticker in my sketchbook. I went with my daughter after school to get a look at the display cases, both old and new. When I go into a museums or place with the intent to take notes I always put the ticket or sticker or write the place at the top. Sometimes the page is otherwise blank.
Here’s a peek into my dyeing in progress for the Living Guestbook installation.
When I’m dyeing for an installation I find it helpful to lay out the spectrum of color as I go. In cases like this one where I want a fairly balanced spectrum this is especially helpful. So far this is the spectrum the dyeing I’ve done yields. Looking at this the holes become more obvious. Also, different from dyeing for Identity Tapestry is that need to keep the spectrum lighter and not go too far into darks or the writing won’t show as well.
This prompted a return to the fabric store for a few lighter bases to start from. They really look easter-egg to me all together like this, but I’m using them for their potential for over-dyeing and the way they fit into the whole.
Yes, I could do everything starting at a base of white, but I find over-dyeing yields much richer colors. Also in the case of many of these fabrics, the weave already had two different colors (the warp might be blue and the weft gold, giving it a color-change look).Tthat’s something I can’t do dyeing over plain white fabric, but if I over-dye it, changes in both colors come through. That again adds a layer of depth to the colors I’m working with. I can also always go back and over-dye again as many times as I like, giving me even more layers of color coming through, especially when I use techniques that dye unevenly.
You can really see the depth in the colors when you look closely at a given strip of fabric.
***Update*** spectrum after today’s work: