Monday, July 20, 2015

Sarah Kabot: Acts of Recording and Replicating


Sarah Kabot's drawings, installations and sculptures duplicate objects using faulty methods of reproduction. The work calls into question the possibility of creating a genuine or infallible record and emphasizes the shift between original and reproduction.
For Sarah, art making unravels and reveals gaps between the symbolic or historical significance of an object, and the inert nature of the object itself. Her investigations increasingly respond to sites that seem to be organized rationally, but have idiosyncratic instances within the system. Recently these have included monuments, collections, and libraries. Sarah is struck by the ways these types of systems offer particularly limited concepts of the past to the context the present.


In this body of work, through acts of recording and replicating, anomalies are highlighted or erased, classifications of things become muddled.  The relationship between the source object and the representation (drawing, sculpture or installation) inherently becomes unbalanced. Delicate or fragile materials are chosen to heighten the impermanence of the replication, mimicking the fleeting quality of a glimpse. Systems of copying, mirroring, and amplification are used, creating tension between the original and the intervention, between the existent object and the reimagined object.
The pieces aim to be almost-forms, visual echoes; and interventions become embodied double-takes.



Sarah Kabot, was born in Royal Oak, Michigan. The visually repetitive environment of the suburbs continues to inform and influence her sculptures, drawings, and installations. Sarah has presented work at the Akron Museum of Art (OH), the Museum of Contemporary Art in Cleveland (OH), The Drawing Center (NY), Mixed Greens Gallery (NY), Smack Mellon (NY), the Peabody Essex Museum (MA), Tracy Williams Ltd (NY), Tegnerforbundet in Oslo, Norway, and at many other venues. She has been granted residencies at Sculpture Space (NY), Dieu Donne Papermill (NY), Swing Space the LMCC (NY), and Headlands Center for the Arts (CA).
Sarah received her B.F.A. from the University of Michigan School of Art and Design in 1998, and her M.F.A. from Cranbrook Academy of Art in 2002. She is currently Associate Professor and Chair of the Drawing Department at the Cleveland Institute of Art in Ohio.

Thursday, July 16, 2015

Matthew Choberka: Translation Between Languages


This body of work, “Position Papers”, engages the instability and complexity of the contemporary world, by way of a serial approach to the image that hybridizes the languages of drawing and painting. The images are autonomous, whole on their own terms, and yet function together in a de-centered dialogue, maybe even an argument, in which structures fight for stability within fields of color and light, forms emerge and wane, in a search for a language to embody the world. My address to the issues of power, conflict, and uncertainty are, and must be, allusive and metaphoric, as well as discursive.


Untitled HH

Incorporating ink, graphite, colored pencil, and acrylic paint on paper, and predicated on an interplay between abstraction and representation, the pictures are as dependent upon the sense of touch as on the faculty of sight. The abrasive movement of the pen, the rhythmic buildup a pencil marks, and the sweep of the brush condition the realization of the image. In this sense I feel my way through the pictures. Found within these movements are echoes of war, and though the pictures are far from overtly political, they have become filled with my unease with the world that I face, and that my children will inherit. Fundamentally, the content of my work has become an attempt to find a place for myself in the world. Emotions like apprehension and anger, tempered with a kind of hopefulness have informed recent works. I work to confront both my identification with humanity, and my (sometime) dissatisfaction with it.

Equally interesting to me in these works are the ways in which they assert both affirmation and negation. The images seem to follow a progression, but they do not comprise a narrative. Forms gesture and move, but they are not figures. Spaces can be navigated and lived in, but they correspond to no known place. What emerges finally is not representation, but presentation, pictures of that which could not be seen in any other way.

Code Unknown



Signal Fire


About-Matthew Choberka 

Chair and Associate Professor of Art
MFA 2005 in Painting, Hope School of Fine Arts, Indiana University
Matt’s paintings and mixed-media works engage the instability and complexity of the contemporary world, by way of a serial approach to the image that hybridizes the languages of drawing and painting. His work has been exhibited nationally and internationally, with recent exhibitions at the Torrance Art Museum in California, galleryELL in Brooklyn, Governor’s Island Art Fair in New York Harbor, Raid Projects in Los Angeles, and Beaux-Arts des Ameriques in Montreal, Canada. His work is currently represented by galleryELL and by Beaux-Arts des Ameriques. Matthew lives with his wife Angela, daughter Olivia, and son Luca in Ogden, UT.

Website and links:


Friday, July 10, 2015

Anthony Viscardi: Spaces Between Art and Architecture

The Architect's Umbra

Playform Cut Emboss
Site Cube

“Liberating architecture from the practical constraints of building, American artist Anthony Viscardi examines the space between art and architecture through explorations of solid/void, presence/absence, static/dynamic, and material/ephemeral continuums. Trained as an architect, Viscardi uses drawing, a practice common to both art and architecture, respectively, to employ Rapidograph, ink wash, and graphite to reveal intricately detailed examinations of shadow and void. These shadow mappings have been the basis of the artist’s twenty-year practice and pedagogy, and most recently, the subject of a compelling exhibition titled Anthony Viscardi: Tracing Time To Measure Space, at Lehigh University Art Galleries in fall of 2013, which articulates the artist’s process through drawings and three-dimensional constructions.”
Domus Magazine. Anthony Viscardi: Tracing Time to Measure Space by Danielle Rago.  September 25, 2013.  
The practice of engaging the shadow as the progenitor of form has directed my architectural scholarship and artistic investigations for over twenty years.  The shadow is born of one thing yet reveals another as its transparent and immaterial essence animates the surface upon which it falls. It is this phenomenological quality of the shadow, once severed from the object that ignites my imagination and informs my creative
The work of my most recent exhibition, “Prints of Darkness, Shadow Cast Impressions” derives from a series of drawings, Tracing Time to Measure Space, in which I record the passage of time at three intervals—morning, noon and night—by sequentially tracing the shadow of an architectural object as it is constructed in one day’s time.   The object is then dismantled, releasing the shadow to exist as a singular composite drawing of individual moments frozen into a single image, a “shadow map,” from which new iterations of the shadow may be formed.   In this process, I use pencil on Mylar and purposely allow my hand to smear the graphite.  Sections of the drawing are then erased to articulate highlights against the complex pencil wireframe.  The resulting palimpsest retains the evidence of the process while revealing something new. 
When anticipating my 2013-14 artist’s residency at the Experimental Printmaking Institute (EPI), I was concerned about how I might express the ephemeral effect of the graphite “smear” via the techniques of printmaking.  With great insight, Professor Curley Holton suggested that my focus should be with finding the “smear” that is inherent to the printmaking process, rather than seeking to replicate the effect of the
smear.  And so, in collaboration with Jase Clark, EPI Master Printer in Training, I began to conceive the potential of the printmaking process as a means of reflecting or re-casting my shadow drawings.
In this exhibition at The Williams Art Center in Easton, PA, the latent image of the shadow revealed in my drawings assumes new substance and form, translated through a variety of printmaking methods, including calligraphy, etching, silkscreen, viscosity, embossing, template airbrush, and laser cutting. Whereas my shadow drawings are projections of their objects, my prints became their inverse or reflection, shadow cast impressions, Prints of Darkness. 


Urban Mimic

Solarflare Construct

The Light Cube


About Anthony Viscardi
Professor Viscardi began work at Lehigh University’s College of Arts and Sciences Department of Art and Architecture in 1992 and was awarded Full Professor in 2007. Under his tenure as Chair, 2002-2010, the Department of Art and Architecture was expanded to include the Design Arts program. Viscardi earned his Bachelor of Architecture from Virginia Polytechnic Institute and State University and a Masters of Architecture from Georgia Institute of Technology. He co-founded Hoss/Viscardi & Co. Architectural Design Firm in Atlanta, where he served as Partner and Principal Designer from 1979 until 1992.

Professor Viscardi is a nationally and internationally known scholar-teacher in the design and art of architecture. He has a special interest in study abroad and established the Lehigh in Italy Summer Program in Vicenza in 1995 and serves as its director. There he teaches his students about Italian public places through sketching as well as, studies the work of the Italian architect, Carlo Scarpa, which has been a topic of Viscardi’s research for over 20 years.  He has conducted design workshops and presentations at institutions of higher learning in Canada, Malaysia, Europe, Brazil, and Puerto Rico and most recently was invited to teach a month-long creative design workshop for forty professional architects at the Beijing Victory Star firm. Viscardi also served as Co-Principal Investigator during the first two years of the Henry Luce Foundation funded Chinese Bridge Project (2009-2011) that took Lehigh students on two summer study tours in China and led to the construction of a 12th century style Chinese bridge on campus.

Throughout his career in architectural practice and as a professor of architecture, Viscardi has continued to work as an artist. He has had solo exhibitions at the Atlanta College of Art, Lehigh University Wilson Gallery, and Gallery 164 in Buffalo, NY, and has exhibited at Nexus Contemporary Art in Atlanta, Philadelphia University of the Arts, Philadelphia Third Street Art Gallery, Auburn University Frank Seltzer Gallery, Allentown Art Museum, and Banana Factory Center for the Arts in Bethlehem, PA. Viscardi’s work has been exhibited widely at national and international academic conferences. He developed a particular interest in creative collaboration while working with Italian artist Michelangelo Pistoletto during his three-month residency in Atlanta. He has since engaged in a number of collaborative design-build projects with artists, architects, students, and community members. Viscardi is represented in the NYC Drawing Center curated Artist Registry.

The work of his most recent exhibition at LUAG (Lehigh University Art Gallery) Fall of 2013 was begun during Anthony Viscardi’s 2011-2012 sabbatical when he was awarded a MacDowell Colony Fellowship to continue his theoretical drawing/visual investigations on “shadow mapping.” He has since received the 2013 Faculty Fellowship award from Study Abroad Italy (SAI) in Florence to begin work on a manuscript that documents a drawing method he developed for teaching students to more closely observe the architecture and culture of Italy. Viscardi was the Artist in Residence for The Experimental Printmaking Institute at Lafayette College in Easton, PA for the 2013-2014 academic year.  In spring of 2014 he had a solo exhibition called “Prints of Darkness…shadow cast impressions” at Lafayette’s Williams Art Center.  The work was a product of his shadow casts impressions viewed through the portal of printmaking.



Sunday, July 5, 2015

Dave Bown: Chaos, Oscillators, and Color

Dave Bown
Cipher Phi Oscillator 18: 0-84, Lithuania 2006
Ink on paper and pencil on graph paper
7 1/2 x 19 1/8 inches (19 x 48.5 cm)

© 2015 Dave Bown / Artists Rights Society (ARS), New York

Dave Bown
Cipher Phi Oscillator 18: 0-84 (Detail), Lithuania 2006
Ink on paper and pencil on graph paper
7 1/2 x 19 1/8 inches (19 x 48.5 cm)

© 2015 Dave Bown / Artists Rights Society (ARS), New York

                 "The property that characterizes a dynamical system in which most orbits
                 exhibit sensitive dependence; full chaos."
                 — Lorenz, Edward N. The Essence of Chaos. Seattle: University of
                     Washington Press, 1993.

                 A sequence of coordinates derived from Phi are plotted according to an unique
                 algorithm that Bown wrote. Line and shape color is governed by another
                 algorithm. Shape dimensions are formed by implementing another recursive
                 computational procedure.

                 The work of Dave Bown is harmonious and balanced according to a color
                 palette based on the Phi Color Theorem, a color theory independently
                 discovered by Bown, based on the Fibonacci progression of numbers.


Dave Bown
Cipher Phi Oscillator 38: 1108-1192, 2006
Vinyl, tape, ink and pencil on graph paper
50 9/16 x 70 1/4 inches (128.5 x 178.5 cm)
Photographed by David Hawkinson

© 2015 Dave Bown / Artists Rights Society (ARS), New York
Dave Bown
Cipher Phi Oscillator 38: 1108-1192 (Detail), 2006
Vinyl, tape, ink and pencil on graph paper
50 9/16 x 70 1/4 inches (128.5 x 178.5 cm)
Photographed by David Hawkinson

© 2015 Dave Bown / Artists Rights Society (ARS), New York

About-Dave Bown
Dave Bown grew up in upstate New York. He received a congressional nomination to the United States Military Academy at West Point by a New York State Congressman. However, he never matriculated. He took a three year hiatus from formal academics to reside predominantly in Cali and Medellin, Colombia.

After he conducted research in East Africa, Europe, and Poland, he earned the Bachelor of Fine Arts degree from Brigham Young University. Shortly after graduation, he founded and continues to direct Dave Bown Projects.

Dave Bown maintains a few professional memberships at various levels that include, but are not limited to the following: 
American Alliance of Museums, Washington, D.C.
Supporting Patron, International Center of Photography, New York 
Young Collectors Council - Acquisitions Committee, Solomon R. Guggenheim Museum, New York 



Wednesday, July 1, 2015

Jay Shinn: Geometrical Abstraction

Edge 3 2104
enamel paint with acrylic wall painted
element, mounted directly to wall unique
36 x 36 in

Through a variety of processes and materials, I seek to expand upon a vocabulary based on geometrical abstraction. Physical and illusionistic elements intuitively merge to create a dichotomy of questions about reality. Exploring physical boundaries and logic, similar to that used in architecture and engineering, provides a tipping point for exploration.

Drawing is at the core of my artistic practice. The act of drawing for me is a release, often in an unconscious way, which ironically filters ideas and concepts that are later more fully developed. Often the small gesture in the rendering of an idea is complete and meaningful in a large way.

Neon Drawing 3, 2015
colored pencil on transparent paper
19 x 19 in
Neon Drawing 9, 2015
colored pencil on transparent paper
19 x 19 in

Drawing allows me to organize abstract thoughts. I draw almost daily. These are not in sketchbooks but taped to my studio walls, which gives me time to contemplate the work. Certain images seem to reoccur. Overtime I edit and remove drawings from the wall. The ones that stay seem to direct my work into new phases and provide a somewhat consistent train of thought to the larger works I do. Through a varied use of materials and mediums, lines become actual objects in space. Most recently, I have been using neon as a way of extending the drawings into physical works. I choose to use light as a way to transform a line into reaching and affecting another realm of senses.

Slanted Bar 4, 2014
hand painted enamel on neon, mounted on wall
32 x 24 in

Spin 1, 2015
hand painted enamel on neon, mounted on wall, unique
42 x 42 in

Tablet Drawing #6, Series 1, 2012
marker and colored pencil on layers of translucent vellum, signed on verso
8.5 x 11 in

Tablet Drawing 16, 2013
marker and colored pencil on layers of translucent vellum, signed on verso
12 x 9 in

X_Bar 4, 2014
colored pencil on layers of translucent vellum, signed on verso
4 x 6 in

X_Bar 5, 2014
colored pencil on layers of translucent vellum, signed on verso
4 x 6 in

X_Bar 8, 2014
colored pencil on layers of translucent vellum, signed on verso
4 x 6 in

Slanted Bar 2, 2014
hand painted enamel on neon, mounted on wall, unique
25 x 20 in

About the Artist
Jay Shinn received his BFA from Kansas City Art Institute and was a resident at Skowhegan School of Printing and Sculpture. Shinn lives and works in Dallas and New York City.

Shinn has exhibited in the U.S. and internationally. Recent exhibitions include Kunstverein Neuk├Âlln, Berlin; Louise Alexander Gallery, Porto Cervo Italy; Knoerl-Baettig, Winterthur Switzerland; Leila Heller Gallery, Theodore Art, and Mixed Greens, NYC; Barbara Davis Gallery, Houston, TX; Marty Walker Gallery, Dallas, TX; UCCS, Colorado Springs, CO.

Public collections include DFW International Airport, Houston Hobby Airport, Microsoft, Fidelity Investments, Tom Ford Collection, Langham Hotel Chicago, Neiman Marcus Colleciton and the State Department (Washington DC) among others.

Currently, Shinn is working on a large-scale public commission for the Houston Intercontinental Airport (IAH) International Terminal to be completed Spring 2016. For more on Shinn's work see