Friday, October 23, 2015

Chuyen Huynh: Spatial Drawing and Memory

Danger! High Voltage Detail

Heat War

My installations evolve naturally in relation to each new space with a minimal use of materials.
I’m interested in inciting a sense of dislocation by deconstructing spaces to reflect shadows and memories of unfamiliar landscapes, interrupted vistas, and unexpected obstacles. I envision my installations as a sculptural playground that blurs the lines between artwork and setting.
In my playground, one experiences boundless sense of space, motion, emotion, and freedom for interpretation. There is no place for replication. Each vision is fleeting like a moment of thought in time.

Life's a Brick
Radiator Sufer

Breaking Into the Blue

Children of the Vines
I aim to explore a visual state of union between multi-cultural fabled anecdotes, surreal narratives, and the role of anthropocentrism in the contemporary cosmic world. 


In my drawings, a variety of characters carry out individual ventures and experiences. There are no central roles; only participants performing a conceptual play of free association and speculation. And all contribute to a singular theme: an uncanny vision of the bridge connecting parallel dimensions and time. 

At the End of the Rainbow

It's a Bear's Life

The Meaning of Green

Chuyen Huynh is a Vietnamese-American artist who is currently living and working in Brooklyn, NY.

Thursday, October 1, 2015

Clare Churchouse: Visual Mapping Systems


Quandrant Remade
Wall installation: mixed media
50” x 53” x 1” (2015)

       21 or If I Built a Building Would It Fall Down
       Wall installation, detail: mixed media
       83” x 172” x 7” (2015)

These pieces explore the relation of drawing, regarded as a system of markmaking, to contemporary data visualization systems and to the recording of memories. In this work, local, sometimes geopolitical, histories are transformed into information structures. These drawings incorporate depictions of objects, axonometric projections, elevations, remnants of archival maps, and abstract marks. Various systems of time keeping and language usage, including timelines and scales, are referenced. Many details are removed to create spare, chart- or map-like works that render narrative into a material dimension.

My investigations consist of two related series: 1) wall-based installations made up of thread, chalk marks and pencil lines; and 2) drawings on mylar. The former investigate the intersection between painting and wall installation and utilize materials in a limited painting space on and in front of the wall. The latter play descriptive lines off more abstract pencil marks in repeated grids on mylar, and often include printed photographs that I mostly erase.

The works document how materiality, space and temporal changes constitute a kind of visual or mapping system wherein we remember a place. The finished drawings contain contradictory spaces and incomplete narratives.


21 or If I Built a Building Would It Fall Down
Wall installation, detail: mixed media
83” x 172” x 7” (2015)

UTM without Legend
Wall installation: mixed media
65” x 96” x 2” (2015)

UTM without Legend
Wall installation, detail: mixed media
65” x 96” x 2” (2015)

3pm Escape
Wall installation, detail: mixed media
63” x 49” x 2” (2015)

3pm Escape
Wall installation, detail: mixed media
63” x 49” x 2” (2015)

Clare Churchouse was born in the UK and lives and works in NYC. She received an MFA Art, Reading University and a BA Visual Arts, Lancaster University, UK. Her work has been exhibited widely, including The Richard E. Peeler Art Center, DePauw University; NYC's ISE Foundation, Silver Shed Project Space, and Art in General; Pierogi Gallery, Dumbo Arts Center and Smack Mellon, Brooklyn; A.P.T. Gallery, The Nunnery Gallery, and Clove 2 Gallery, London; Turnpike Gallery, Manchester; Triskell Arts Center, Cork; and Berlin’s Deutscher Kunstlerbund eV. Recent exhibitions include ‘Interventions II’ house project in Hudson, NY. She has participated in the International Studio and Curatorial Program, NYC; Triangle Workshop, NYC; Vermont Studio Center; and Art Omi, NY. Awards include a London Arts Board Artists Award, Birmingham University’s Barber Institute of Fine Arts Revision Award, and a John Anson Kittredge Educational Award. For more information, visit





Wall installation: mixed media
74” x 62” x 1” (2015)

One Place Which was Brought to a Place…
Wall installation, detail: mixed media
156” x 696” x 48” (2011)
Photo: Etienne Frossard


5 Hours Between Now and Then 2
Wall installation, detail: mixed media
82" x 105" x 14" (2009)
Photo: Hermann Feldhaus



Susan Knight: Layering and the Hand Cut

Water Courses
Layered, hand cut reflective Tyvek on paper
Size variable, 2010.
A decade ago I cut away forms on paper in order to make a unique drawing about my memories of the water I grew up on for a particular show.  Surprisingly the act of cutting energized me. And the more I thought about water I realized how growing up in Michigan around water shaped my life and sensibilities.  Now Im compelled to examine every aspect of water.  Waters physical and metaphysical powers to unite, circulate, connect and sustain inspire my work.
I hand cut, fold, incise, sculpt, stretch and tie paper, Mylar, plastic and Tyvek to express ecological issues in two and three dimensions as well as site-specific installations.  My primary tool is an Xacto knife.
I research data and filter facts about water and environmental issues like the ecosystem breakdown in the Great Lakes, flooding on the Yampa River in Colorado, the quality of groundwater in Nebraska, and mixed use issues in the Hudson River Watershed in New York state. I translate scientific information into forms by hand cutting the designs into manageable components. The components are often layered one on top of another and create entirely new groups of patterns, and complexity.


Hand Cut Paper in the Colorado Landscape
Photograph of hand cut paper, Mylar dots
20 x 30, 2013.

Hand Cut Paper in the Amazon Jungle
Photograph of hand cut Tyvek on paper
Acrylic ink, 20 x 302014.

Layered, hand cut Tyvek, acrylic ink
30 x 30, 2013.

Rising Water
Hand cut Mylar, acrylic ink
Site specific installation, size variable, 2009.

Water Bank Boogie
Hand cut Tyvek on paper, acrylic ink
Site specific installation, size variable, 2015.

About-Susan Knight
Nebraska-based painter and paper artist, Susan Knight is a
native of Michigan.  Her work has been exhibited in solo and group shows and installations nationally, including Bank of America Headquarters, Charlotte, NC and internationally in China, Ireland, Italy, and Canada.  She has twice been featured in Sci Art in America Online Magazine.  Among her honors, Knight is a recipient of a Nebraska Arts Council Individual Artist Fellowship.  In 2013 she was chosen by The Colorado Art Ranch and The Nature Conservancy for a Land/Water residency at Carpenter Ranch, Hayden, CO and was awarded artist residencies at Ragdale, Lake Forest, Illinois in 1997 and 2009 and at the International School of Art, Montecastello di Vibio, Italy, in 1999.  She earned a BFA in art from Saint Mary's College, Notre Dame, Indiana, and attended The University of Notre Dame, The Glassell School of Art, Houston, and The School of the Chicago Art Institute.

Brent Fogt: Order from Chaos



I create labor-intensive drawings, collages and installations that explore ideas about organic growth, in particular the natural order that emerges from chaos. The work can be read at both micro and macro levels, from histology slides to topographic maps, from birds’ nests to coral reefs.


My materials are simple: paper, canvas, ink, jute, sisal, glue, graphite, and organic materials that I collect while walking. I am attracted to humble materials because of their accessible, democratic nature and connection to our everyday experiences. Linear materials such as yarn, long a staple in my relatives’ homes when I was growing up, allow me to extend my drawings into three dimensions through hand crocheting or hand knotting.


I build each work slowly—-mark by mark, piece by piece and stitch by stitch—-following a flexible set of rules. One recurring rule in my drawing practice, for instance, is to limit myself to one shape, the circle. As I draw, marks accumulate over a long period of time, often months, to form patterns and shapes. Similarly, in my sculptural work, knots and stitches accrete and gradually morph into nest-like structures. I begin each piece with just a general sense of how I want it to look, leaving ample space for improvisation and elements of chance. My process embraces mystery and uncertainty, and welcomes surprises.


With holes that serve as entry and exit points, the work is meant to contain and extend the human body and to create a symbiotic relationship between art and body. My surfaces are web-like and porous. They act as nets with the potential to protect or, more threateningly, to trap.


Place is also central to my work, influencing not only how the work is made but also how it is displayed. For example, in a recent installation in the alley next to the Chicago Theatre, I used colors such as deep purples, reds and yellows to contrast with the flat grey of the theatre’s brick exterior and repurposed the fire escapes as supports for my hanging sculptures. I am interested in reflecting or embodying specific places in my work. In a project I call “rain drawings,” I scatter ink-soaked leaves, grass and branches on paper to create a trace or record of a place or moment.





Born in Ohio, raised in Texas, and currently based in Chicago, Brent Fogt creates intricate drawings and installations that reference plants, maps and microscopic organisms. Brent’s work has been featured in New American Paintings, Art in America and and in solo exhibitions at Austin College, Emory University, Indiana University and the Lawndale Art Center. He has completed artist residencies at the Vermont Studio Center, Djerassi Resident Artists Program and Yaddo. He holds a Master of Fine Arts from the University of Michigan and a Master of Science in Foreign Service from Georgetown University.