Sunday, January 31, 2010
On Thursday, January 28 I met at Peet's in Lexington with R. for our first mentor meeting.
I brought "samples" of my work from the residency, which I had already begun to pull apart with the idea that I would combine them for a larger piece. I shared with her some of the story behind my art - how I reached the point of working in the way I do now. She gave me the name of 3 artists: Lisa Hoke, Devorah Sperber, and Yayoi Kusama (the last I'd already referenced). The first 2 are intriguing. I realize as I briefly glance at an artist's work on the web, that I may miss a lot. However, there are really just a few artists that I seek out time and again. I could see why these 3 are worth looking at; meantime, in my own reaching, I keep going back to Jessica Stockholder for color and the way she carries the color from surface to surface - which I love . I mentioned that to R. and we talked about how I might accomplish that in my work: I could dip the tops of the rolls of silk in paint ( I may or may not like the effect of the color sitting on the fabric v. absorbed into), I could dip the rolls in dye, or I could use contrasting colored thread.
When I discussed possible "landscapes" the art might take, R. cautioned me against deciding at this point. I will leave it more open and see where the work takes me. The question:
"What would happen if?" is the guide.
This week I already dyed more than 11 yards of cloth. I shared with R. the process of dying and my discussions with John Marshall, who is perhaps the artist most responsible for sharing these Japanese dyeing techniques in the US, and who lives in CA, about how the dye is going to work in these frigid January conditions ( the dyes make unusual patterns as it freezes and sets).
I will meet with R.again on March 2. Meantime, I plan to expand the work much further.
Monday, January 25, 2010
Professor Hannah Barrett
AIB Group 2
Summary – Residency January 2010
The feel of the work:
1. Laurel: try to find ways to transcend the identity of the material
2. Hannah: You are working abstractly, pulling between painting and sculpture. Need to look for ways to get maximal punch for minimal effort.
3. Debb Todd Wheeler: more, make more of the delicious silk with repetition and accumulation.
4. Jan: loved the looseness of the work – what she called “the chaotic dimension”, the fact that pieces were not sewn down “so it can be played with and manipulated.”
5. Anne Baumgartner: she and I discussed how we love the quality she calls “incidental” and I call “not put,” meaning that the work carries the feeling of a leaf landing there – not placed.
1. Konstanze: too decorative, go ugly
2. Laurel: Your color has become much more sophisticated- which is exciting to see. Look at Jessica Stockholder.
3. Hannah: work in unorthodox ways, go too pretty (“cloying”) and then way other way
4. Debb Todd Wheeler: Your work is about the intersection of color, transparency and light. Do much more of it.
1. Michael Newman : Do animation.
2. Hannah: Scale up= how to show off the work.
3. Laurel : You tend to work small. Find ways to expand – to the wall, etc.
4. Debb Todd Wheeler : Make your work human size or larger.
1. Michael Newman : Use a light box.
2. Jeff Eberling: Use a tent.
3. Laurel: Use polystyrofoam or chicken wire to put work on wall.
Use salt to show off pieces on the floor.
4. Debb Todd Wheeler : No salt, use the silk shreds as “salt”. Use plexiglass over or as containers – as Do Ho Suh has done.
5. Hannah: Keep it really simple. Use a sketchbook to show how I arrive at a solution ( important). Pay attention to images and emotional aspects as they come to mind.
6. Jan: No plexiglass with silk! Use the silk itself – these boxes – as containers. Silk is strong and soft. Don’t introduce a hard surface.
1. Konstanze: Roseanne Trockel, Iza Genzken, and Anette Messagere.
All are ardent feminists. Although they do use cloth in their work, I didn’t like the work. Messagere’s was closest, but very dark.
2. Laurel: Jessica Stockholder, P.S. 1 – I love both, both rich.
3. Debb Todd Wheeler: Nava Lubinsky – I don’t care for even though I see the similarity. Lucas Samaras – some of his work is intriguing. Do Ho Suh – very interesting since he is working with silk in ways similar to what I’m doing.
4. Jeff Meeuwsen: showed the work of a Korean artist Bel Lelei (who is not yet on Google) but she burns holes in organza, which I have done in the past and was glad to remember that I liked the effect.
5. Jan Avgikos: Maya Linn and Alan Kaprow (to understand why to leave my work loose).
6. Hannah: Yes to looking at Robert Irwin. Also: the Gail Fitzgerald show at Carroll and Sons Gallery which illuminated how simplicity can be powerful – and that touch and color are enough. (well almost enough – what with the columns she was referencing using the Styrofoam coolers).
7. Anne Baumgartner: Joe Fyfe – a painter who uses dyed cloth in some of his work. I liked his work.
I care a lot about the feel of the work – the “incidental” nature. I intend to work larger, more expansively, and I will start with using just silk, as Jan suggested. Since I will also be exploring levels, I may need to use plexiglass or wire as support , too. I will be thinking about how to work with the light, transparency and color and to keep trying to understand those aspects in more sophisticated ways. I’ll reference Jessica Stockholder, Robert Irwin, Josef Albers and Joe Fyfe . Mainly I will focus on Maya Linn – her systemic landscapes- and Do Ho Suh- for his use of organza.