Tuesday, June 30, 2015

Lynne Harlow:
Site Specific Reductive Works                             




                                                      
                                                       Best Day Ever, 2011
                                                       adhesive vinyl
                                                       16′ x 18′ x 11′
                                                       site specific installation: Otranto Castle, Otranto, Italy

 
How little is enough? How much can be taken away before a piece crumbles? I arrive at my pieces by reducing physical and visual information. This process of reduction, a steady taking away, is ultimately intended to be an act of generosity. In each piece I’m looking for the point at which these reductions allow me to give the most. It’s an appealing contradiction because it prompts one to reconsider the concept of abundance and the nature of giving.


My work embraces drawing as an essential element and explores where and how it intersects with space, rhythm and movement.  My use of drawing in spatial arrangements relates directly to the characteristics of the space it inhabits, generating a carefully calibrated relationship to the surrounding architecture and to the ways we move through it.

              














Bourbon as a Second Language, 2011
chiffon, vinyl
18′ x 6′ x 10.5′ 

site specific installation: Towson University, Towson, MD


                                         
                                          rhythm..distance, 2012
                                          fabric, frame, original drum recording by Paul Corio
                                          14’ x 9.5’ x 3.5’
                                          Installation view: 2013 deCordova Biennial,
                                          deCordova Sculpture Park and Museum, Lincoln, MA




                                                                        Tangerine, 2012
                                                                        lighting, original guitar composition (by Haber + Randall), Fender Bandmaster amps
                                                                        ite specific performance installation: Old Stone Bank, Providence, RI

                                                             



Lynne Harlow Bio

Lynne Harlow is a reductive artist based in Providence, RI.  She makes large scale site-specific work as well as drawings and prints in a language of sensual minimalism.  She holds an M.F.A. from Hunter College in New York.  Her work is exhibited regularly, including a recent solo exhibition at MINUS SPACE in Brooklyn, NY and selection for the 2013 deCordova Biennial in Lincoln, MA, and is held in numerous collections including those of The Metropolitan Museum of Art and The RISD Museum of Art.  In 2011 she was awarded the Robert and Margaret McColl Johnson Fellowship of the Rhode Island Foundation, a
$25,000 merit award supporting development of new work, and in 2002 she was a visiting artist at the Chinati Foundation in Marfa, TX. Find more about her work at www.lynneharlow.com.



 






Thursday, June 18, 2015

Sarah FitzSimons: Drawing in Three Dimensional Space



Sarah FitzSimons is a visual artist whose project-based work typically involves a sculpture, installed outdoors or indoors, which interacts with and derives meaning from its surroundings. Much of the work seeks to connect our constructed culture and daily lives with the wider patterns of nature. FitzSimons works first and foremost in and with three-dimensional space, and a core question that drives her research is: how can an object affect the space around it? Just as the form and bulk of a mountain range creates its own weather, how can art alter the space (physical, emotional, aesthetic, social, psychological, etc) around it?

For the House project, FitzSimons draws with aluminum poles to construct life-sized houses in three-dimensions.  The first was located on a tidal flat in the Wadden Sea (Denmark, 2010), and a more recent version was installed at the Djerassi Foundation in the Santa Cruz Mountains (California, 2014).  In these images, the sculpture is flattened  through the process of photography, and the photos present the structure as a series of two-dimensional drawings. The photo/drawings generate an ambiguous sense of space and scale when shown without people in the frame.
 More of Fitzsimons work can be seen at www.sarahfitzsimons.net.




About the Artist
FitzSimons’ work has been exhibited in solo and 2-person shows at Casa da Inquisição, Reguengos de Monsaraz, Portugal; Vadehavsfestival, Mandø, Denmark; I-Park, East Haddam, CT; SoFA Gallery, Indiana University, Bloomington, IN; and EnView Gallery, Long Beach, CA. Recent group exhibitions include shows at the Madison Museum of Contemporary Art, Madison, WI; Extéril Gallery, Porto, Portugal; International Forest Art Path, Darmstadt, Germany; Chazen Museum of Art, Madison WI; Hyde Park Art Center, Chicago, IL; and Maus Habitos, Porto, Portugal. She is the recipient of an Efroymson Contemporary Art Fellowship, Indianapolis, IN (2013); Research Grants from University of Wisconsin-Madison (2011–2015); and a Fast Track Grant from the Ohio Arts Council (2010). FitzSimons received her BA and BFA from Ohio University and her MFA from the University of California, Los Angeles.  Since 2011, she has taught at the University of Wisconsin-Madison, as Assistant Professor in Sculpture.

Monday, June 15, 2015

Adam Hinterlang: Kinetic Iterations and Systems

Kinetic Drawing 02

I use the term Kinetic Drawing as a means of drawing a distinction between what is happening in these works versus work in linear and/or narrative animation. Unlike narrative work, it’s not important to view the works in their entirety or from beginning to end. The intention is to create a moving work that can be viewed in a way that is similar to static work, such as painting, print-making or drawing. One of the ideas that interests me in digital media is it’s ability to occupy multiple spaces at once, which is largely what this series of work explores.

The source imagery comes from drawings from my sketchbooks and from the Méconnaissance series. With this series, I began to see my drawings as source material that could be utilized for animated work as well as being an individual piece. A drawing could now have multiple lives and different iterations.

Kinetic Drawing No. 5


Kinetic Drawing 06


Kinetic Drawing Number 7
Kinetic Drawing Number 7 was made using a process of building a databank of eight short animations that ranged from 5 to 40 frames (1 second of video is roughly 30 frames per second) that were then used to construct the final work. Working in a musical key of F# major, I used an 8 octave scale and generated a triangle wave tuned to the frequency of each note in each octave. The colors I worked with were the primary colors of projected and reflective color: red, green, blue, cyan, magenta, yellow, and black—seven colors representing seven notes in a musical scale. I created a layer of animation for each octave that was comprised of one of the short animations in each color, starting with the lowest notes assigned to the shortest of the animations so that they would produce an underlying “beat” in the piece.

To determine how and when a section would appear or overlap another in the layer, I used a chance operation similar to the one used in Kinetic Drawing Number 6. The first roll determined which section out of seven would be used, the second roll determined the number of dice I would need to decide how many iterations of that section there would be, the third roll was for how many dice I needed to roll to determine the amount of overlap or amount space between each section, and the fourth roll was for the number of times those dice would be rolled. A fifth roll determined whether the next group would overlap the former or vice versa. When each section was completed, I rolled to determine how long the next layer would be. When the final composite was generated, I had eight pieces of animation ranging in length between 2:30 min to 10 min. Over the course of the piece, sections are repeated and placed in a new context relative to the other parts.

Connect to more of Adam Hinterlang's work at the link http://www.adamhinterlang.com/kinetic-drawings/




Kinetic Drawing 07 v1


Kinetic Drawing 07 v2


About the Artist
Adam Hinterlang was born in Pittsburgh, PA in 1975 and received his BFA at the Kansas City Art Institute in New Media and Art History and his MFA at NYSCC at Alfred University in Electronic, Integrated Arts. He has screened and exhibited work in the US and abroad, including the Museum of Contemporary Art in Chicago and the Museum of Modern Art in New York. He currently lives and works in the Boston area.


Sunday, June 14, 2015

Beverly Ress: Drawing as a Way of Seeing

 

Drawing, to me, is learning to see. I want to see the materiality of the world - what is.

How do I see and interpret the object as real, and physical?

How do I understand its abstraction?

How do I interpret its metaphorical qualities?

How do I understand the object’s relation to space?


I take the sculptor’s stance: that space has its own materiality. Each drawing must respond to the question of that relationship. How is the object integrated with emptiness? How does each inform and affect the other?

Once made, the drawing itself becomes an object. I re-look at the new object and work with its materiality - cutting into it, weaving and tearing it, and re-organizing shapes found within it; or laying pools of watercolor over the carefully drawn work, to see what effect it will have on what’s come before.

The layering of image and form integrates two concepts that inform memento mori artwork – that each of us dies, and that each of us has the opportunity to grab onto and thrill to the temporality of life.







About the Artist
Beverly Ress draws objects in the collections of science and medical museums. Her work explores the connection between the physicality of memento mori and the enduring abstraction of ideas. Ress’ drawings have been included in two national invitational drawing exhibits - Art on Paper at the Weatherspoon Art Museum, and the 10th National Drawing Invitational at the Arkansas Arts Center. She has had recent solo shows at The Kentler International Drawing Space in Brooklyn, Chroma Projects in Charlottesville, and Loyola University in Baltimore. In 2011 and 2012 she was a Resident Artist in the Bird Division of the National Museum of Natural History. During 2013-14 she was an Artist-in-Residence at GWU’s Mammalian Brain Lab. She is currently drawing at the National Museum of Health and Medicine, and has recently finished a drawing fellowship at the Mutter Museum in Philadelphia. Her work will be included in the 2015 Sondheim Semi-Finalist exhibit at MICA in July. Her work can also be seen in a solo exhibit at the Katzen Museum in November, 2015.