From the Studio

thoughts on art and process in action from a contemporary artist

Archive for the ‘shows’ Category

Natural Dyeing for Sukkah Project

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I’ve been invited to inhabit the Sukkah at the Contemporary Jewish Museum (San Francisco) on October 8th for one day of the holiday of Sukkot.  They invited six artists to each take a day to create an open studio or installation project inside the frame of the Sukkah.  I decided to take the opportunity to do a new Participatory Installation piece within that frame entitled Refuge of Leaves.

Process

These are photos of the dyeing process for this new project.  These are the first three batches, using pomegranate dye, rhubarb dye and artichoke dye.  Each dye changes depending on if I scour the paper first, or if I add a mordant, or if I add iron.  I did every combination on four kinds of paper to get a wider variety.

As I’m going, I allow the paper to show some marks- wrinkles, the mark of the iron, irregularities, etc.  Showing their history, that they have been through something, a difficult process that may even damage them seemed like a perfect parallel to individuals seeking refuge, to people who had a story to tell.

About the Piece

Traditionally a Sukkah is a symbolic ritual space of refuge in the wilderness created for the holiday of Sukkot in the Jewish faith and tradition. “Refuge of Leaves” creates a Sukkah as a space for reflection where people from many backgrounds can reflect on and share their personal experiences of refuge from “wildernesses”, whether physical or metaphorical. As a Sukkah it symbolizes a liminal space of safety within the wilderness between worlds.

I followed traditional aspects of the Sukkah in using natural plant-based materials in the form of a variety of papers from different places and times, including papyrus as well as paper that could be put through a modern printer.  These are for participants to write responses to their choice of prompts on the subject of refuge.  I am hand-dyeing the papers with natural dyes to mimic the color range of plants one might build a traditional sukkah from. The dyeing processes also makes each piece of paper individual in color and texture, just like the people writing their responses.

The word “leaves” in the title functions in a number of ways.  The individual leaves of paper in a larger book, the plant leaves that form a traditional Sukkah, and the nature of a this kind of refuge as a temporary shelter (not a home) that eventually requires one to leave.  The structure is very literally a refuge made of leaves that each participant leaves behind.

As part of this project I will be there from 10AM until 4PM to discuss my work and facilitate the process.  Please join me.

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At College of the Redwoods

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img_1958Today Between the Lines (experience exchange) went up with the help of the head of the Black Student Union and the Professor heading the Book of the Year project. There are always hiccups, but now it looks exactly as it did in my mind and even though the official opening isn’t until Thursday it already had some participation.Some of the students who will get to participate are taking correspondence courses from prison, and I’m so glad I was able to get something of the piece to them, because having a place for their stories to be told is important.

My interview for the local NPR member station is here.  It doesn’t have the image and specific link yet, but it is the Feb, 21 one.

The piece works much like Scales did. Participants write a response to a writing prompt on a hand-painted paper and exchange it for someone else’s.  Then they read that person’s response and tie it to the frame which they feel it belongs most to (Repression, Expression, Privilege, Opportunity, Love, Hate (fear), Resistance, Compliance, Accepted, Suspected, Hardness, and Openness).  Being asked to place it not only gets them to read someone else’s experience, but it also gets them to think about it in the context of the themes in the book.

I wrestled a lot with the themes and questions.  I had to tailor the themes and questions for people who might not have read the book yet (half the students read it in the second semester), and also to make it approachable.  So much of what is wrong with the world that we need to change is things we cannot bring ourselves to engage with.  My job is to engage people, so I find myself walking the line of bringing up difficult issues in such a way that people can approach at their own speed, even in a way that seems fun and colorful.

I’ll show more about this new work later when I have more pictures of participation, but tonight I’m thinking about the screening of 13th at the college and the thoughtful, powerful discussion moderated by the Black Student Union afterwards.  The students I have met here have been wonderful and I am honored to be here.

#DadaTarot: the first readings

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I created this project for a show celebrating the 100th anniversary of Dada.  I made the #DadaTaroT deck out of two sets of images: 21 red wood and laser-etched cardboard symbol cards, and over 200 media image cards on laser-etched cardboard.

 

The method was simple: a pair of people (strangers, lovers, friends…) would be invited by the performers dressed in carnival-esque gear to each ask a question which they could not at that moment know the answer to.  One person would ask (aloud or in silence) and then select one red card and two brown cards.  The partner would then use the cards to attempt to answer the person’s question.  Then they switch.  I documented each one in rough and ready fashion with a photo and hastily hand-written notes.  These are the results.

The Dadaists were coming out of the horror of WWI that left many of their generation feeling that life was meaningless and absurd: Religion, Government, Philosophy and Art seemed to have utterly failed to provide meaning in the context of that horror.  The Dadaists embraced and exposed the absurdity.

I used Tarot because it seemed to be a perfect intersection of the randomness that a lot of dada art has employed through the use of games of chance together with a random assault of media and symbolism wherein we search for meaning.  In the end it is about what each person brings to it and what they _want_ to find, but as in all interactions it’s not just our interpretations, but the interpretations of those around to us, or even close to us that have an effect.  Our negotiation of those interpretations of our world together are what interests me as an artist.  This exchange provided a platform for mini exchanges and negotiations of how we interpret our shared world.

So many interesting things happened during this project, only a few of which are visible in these records- the best of it was within the interaction.  It is very much is about what people bring to it.

The Crucible of Deadlines and Constraints

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hand on fireMy 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.

Living With Endangered Languages in the Information Age show Opening next weekend!

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TheLiving With Endangered Languages in the Information Age” show at Root Division is opening on the 7th!  I will have my new mixed media sound installation Cultural Fabric Breathes Still there waiting for you.

Much thanks to curator Hanna Regev, the participants (who chose to remain anonymous), to technical collaborator Dan Garcia.

        Opening Reception: Saturday, January 10, 2015 – 6:00pm to 9:00pm
Exhibition Dates: Jan 7, 2015 to Jan 31, 2015
3rd Thursday Artist Panel Discussion: Thursday, January 15, 2015 – 5:00pm to 8:00pm
I hope to see you there!

“I am. And You?” (Transparency and Primary Text)

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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.

Written by marycoreymarch

July 8, 2014 at 11:18 am

Installing for “I am. And you?

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IMG_5621Did I mention the space is absolutely amazing?  When I saw that piece of set (a huge factory wall which can be back-lit through the windows), the height of the ceilings, the space generally I knew I had to do a piece in that space.

So over the last couple days we put up Primary Text and my new work Transparency, created especially for the space and the “I am.  And you?” show at Zspace.  Primary Text is hung in this image (left), but not yet anchored.  I’m excited to see that one in action Participation-wise.

Yesterday I finished creating a warp for Transparency (the up and down part of a weaving on the loom) over 15 feet long.  It’s right in front of the windows, and the material you will be weaving into it is the colored gels theaters use over lights.  You can just see the 3 cables I used to hang it.

Each person will answer a question and write it on the gels and weave it into the warp.  They can also respond to someone else’s answer as if that person asked “and you?”. The physical result should be a kid of stained-glass window lit from behind.

I’ve been thinking a lot about ideas and experiences of introversion and extroversion, backstage/onstage/audience, the parts of ourselves we show differently in different company.  Filtered selves, not fake, but you don’t let the same parts of yourself through to your coworkers as you do to your lover or your child or vice versa.  One odd discovery is how many theatre performers are actually introverts offstage.  Given the environment of the theatre and the way lights and windows an that set-piece were working I had to explore transparency and filters while using the visual materials of the theatre-space (sand-bags, lighting gels, a “set” of flat black).  I’m excited to see how it all comes out when it’s been interacted with!

Please join us Monday night from 6-10 at ZSpace in San Francisco.

Directions

Written by marycoreymarch

July 4, 2014 at 10:32 pm