Archive for the ‘materials’ Category
The space and the work were so wonderful together. I feel so fortunate to have been able to create this new installation for this space. “I am. And you?” was also a perfect theme for my work generally, so it was a good fit all around. They have asked if I would keep up the new work “Transparency” for the next show as well (centered around building community and communication), so there will be more chances for the general public (aside from hundreds of theater-goes) to see it.
I always love seeing people interact with my work and discovering what happens when the work comes together with a space and a unique group of people.
The envelope piece is…
Write Me for Art/Do you read me? (Disintermediation)
Mixed Media Participatory Installation: hand embroidery on cloth.
To create this piece I gave people (mostly strangers) around the country self-addressed stamped envelopes with personal questions inside and a description of the project, usually after a good conversation.
They were invited to write a short response in their own handwriting and send it back to me to become part of the project (also available to those following the artist online). The artist then hand embroidered every reply received by Jan 1, 2014, matching the color and handwriting as faithfully as possible.
The tablet piece on the table is…
Write Me for Art/ Do you read me? (digital mediation)
Mixed Media Participatory Installation: machine embroidery, print on fabric, acrylic, weights.
This piece includes text from the companion piece Write Me for Art/Do you read me? (Disintermediation), but also text taken by the artist from online social media.
*For those of you who are unable to handle these, if you did you would notice that the ones that are machine-embroidered were heavy (about the weight of a phone or tablet, a little heavier). Those objects corresponded to the text from the first piece (Disintermediation). The others were printed rather than embroidered, were light and the text was taken from online social media.
The piece in the background is Iteration #9 of Identity Tapestry.
April 19th: Open Studios 12-5PM 2565 Third Street (between 22nd and 23rd), SF, CA
May 2-4th: Print Show at Mullowney Printing 933 Treat Street, SF, CA 94110
* Opening on Friday the 2nd.
May 14th-18th: PRINCIPAL: SFAI’s Graduate Thesis Exhibition
SFAI Graduate Open Studios: http://www.sfai.edu/openstudios
This is your chance to get a peek into the process.
Navigational Tip: There is an entrance at 22nd street. Go to the second floor. Every Orange door on the floor is an SFAI facility.
I am in Bay C (just to the right of the lounge) in a lovely corner spot in #7 in the back right.
I will send out more information on the second two events as they approach. I hope to see you at the Open Studios! I will have an interactive piece running in the studio as well as a Participatory piece you can contribute to.
Last week I flew out to NYC for some Art saturation. Museums, Galleries, the Whitney Biennial, a show, studio visits… it was wonderful. There will be a post about all that, but I thought I’d share the work that really connected to my current exploration of weave and grid and tangle.
I happened to see Jasper John’s “Regrets” series at MOMA and noticed a lot of fabric and weave in his prints! It was interesting to me that though I knew him as a painter since high school, I’d never really seen any of his print work (one of those some-media-privileged-over-others things?). He also directly incorporated cloth and weave into his in 0-9 series on display there. Last week I was just working out how I would incorporate the weave into my first copper plate and here was a famous artist doing just that. Serendipitously later that day I saw another Jasper Johns piece at Matthew Marks Gallery in Chelsea related to the 0-9 prints at MOMA which was done as a bronze sculpture … again with the weave.
The following slide show is made up of the work around NYC, old and new that fed into the shapes and thoughts around grid/weave/tangle that I’ve been exploring.
So today my tutorial professor Mildred Howard took us to visit Magnolia Editions in Oakland. She really goes above and beyond. What an incredible space! There were notable artworks both carefully displayed in the lobby and scattered, hung, tucked and neatly filed all over the place. Don Farnsworth gave us a tour and struck me as just the sort of person who would get along nicely with the various engineer, rocket scientist, neuroscientist, etc. set of my friends who build crazy things in their spare time.
The thing that clenched that impression (besides his knowledge of the human-eye/brain, color, etc.) was the studio-made coffee roaster. It’s a re-purposed barbeque with a little motor for a rotator to turn the little cage for the beans. We roasted them while he talked about the fine art of coffee-roasting, cooled them over an inverted house fan over a screen, and then he stamped and filled bags for us. Things like this reassure me about the art world. I’m glad I’m not the only geek here.
Magnolia has all kinds of incredible toys I want to play with- a huge laser etcher/cutter that has eye-beam spotting (senses dots on your material to better line things up). They have a print shop, paper making studio, a large scale watercolor printer… so many things. Especially interesting to me is that they also have everything (including the knowledge and skills) for designing large scale digitally designed tapestries like the Pae White piece that blew my mind at the art fair in LA (a smaller version of this). It turned out the Magnolia folks did it with her and everything is printed on the largest loom of this kind in Belgium. Something about soft flexible, untreated fabric looking like metal just does it for me. That it’s in the weave, not any application on the surface.
Anyway- a HUGE printer (more than half the size of my living room huge) that prints on a wide variety of surfaces. While we were there they printed a new piece that will be used for Imagery Winery’s new label (it is an award-winning winery which commissions artists to do their wine labels. The surface of the piece itself was layers of laser-etching, then building up the surface and finally printing over the relief. Wonderful stuff.
Chuck Close’s work features heavily at the studio as they work out processes together (currently tiles for a New York subway installation). He actually called while we were there and asked us over speakerphone if we really wanted to be artists. When we said yes, he said “Keep the faith”. 🙂
The whole atmosphere was really a delight. I would love to come back there with a project to do with them and their lovely toys.
On a side note they were doing exactly what I was doing all day yesterday- using the laser cutter as part of the printmaking process. Something that seemed like a natural move to me, one I was not at all surprised to hear that others have already been doing.