Wednesday, July 21, 2010

summary of June 2010 residency

Salley Knight
Professor Deb Todd Wheeler
AIB Group 3
July, 2010

Summary – Residency June 2010

Color/ light:
John Kramer: Color not working in blue area. Most effective use is in mirroring through the scrim.
Deb Todd Wheeler: Look at artists trying to capture the uncapturable
Check out Mag lights ( the big strong ones)
Laurel: Let the color go viral. Use mirrors and lights.
Jan: Intensify the color with layers. Use layers to play with color possibilities
Annette: Use gouache for flat color as contrast

Materials/ construction:
Hannah: Use video to capture color on silk in ideal conditions
Laurel: Don’t let armature be obvious. Use mirrors, lights.
Jan: Explore ways to hang the scrim so that a person can walk through.
Deb: Look for some kind of thin wire or filament support for overhead hanging

Cesare: What is the action word (looking at “theatre piece”)?
Deb: Look for the accident/unknown consequences. Explore entropy/absorption. Look for the relationship of silk and air. Phenomenology.
Laurel: Become beastly. Structure, then interrupt. Pay attention to Tuttle – the language used in describing his work. Let that inform you.
Regan: Treat material as content.
Edie: Play with it in as many ways as possible. Be a child in your explorations.

Deb Todd Wheeler: Spencer Finch, Bill Viola, Olafur Eliasson. R. Krauss – (Users Guide to Entropy) The Writings of Robert Smithson
Cesare: Nathalie Djurberg
Edie: Yves Klein
Laurel: J. Stockholder, Tuttle, Petah Coyne, Sheila Pepe, Eileen Quinlan
Jan: O’Keefe, Rothko, Shazia Sikander (installation work), Alexander McQueen, Claes Oldenberg
Annette : Alan Saret

Possible directions:
1. Explore the vertical hanging using layers of color on scrim – noticing color and how it can intensify or dull with layering choices – and then the possibilities for spacing to allow light and movement through the piece itself.

2. Explore color as surface and and as translucent – how it connects to what surrounds it, or is altered. So, creating obvious areas or structures of color and then letting them loose – that interplay. As well as how the colors themselves interact as color.

3. Playing around in order to find armature that supports the work.

4. Lights and mirrors: with the work/alone/as reflectors of color

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