Wednesday, December 30, 2015

Interview: Alexa Horochowski

Ouroboros, dimension variable, straw wattle, bronze hood, inkjet on metal, wood, 2015

Untitled, 5.5” x 7.5” each, inkjet prints of scanned pine needles on metal, 2015

EDP: What philosophies (works of literature, etc.) have influenced you?

AH: Lately I’ve been reading Timothy Morton’s Hyperobjects, and Jane Bennett’s, Vibrant Matter: A Political Ecology of Things, where she argues that agency emerges as the effect of ad hoc configurations of human and nonhuman forces. She also writes, “Darwin describes the activities of worms as one of many ‘small agencies’ whose ‘accumulated effects’ turn out to be quite big. Worms…‘make history’ by preserving the artifacts that humans make”.

As a sculptor the concept that things have agency seems common sense. I am perpetually inspired by objects, and I don’t mean art objects, just the ones that are everywhere all around us. Today I was walking in my neighborhood in South Minneapolis, heading to pick up my car from the garage, and in someone’s yard I saw these lawn ornaments of fake, outdoor, Christmas “presents”, except that typically they would be sitting in snow, but this year though December, the grass is still visible and bright green, which is rare enough, but stranger still, there was a giant multi-layered, beautiful mushroom clump growing right next to the “presents”. It was as if this natural, living thing was showing off its vitality. But it was the contrast and collaboration of these objects that made them striking. We tend to think in dichotomies about what is “natural” and what is man-made but the more we learn about what things are made of the more difficult it becomes to differentiate. According to a report by the Geological Society of America a new stone, officially named a plastiglomerate is formed when plastic trash melts and fuses with natural materials such as sand, shells, wood, coral, and basaltic lava fragments, resulting in a plastic-rock hybrid. Beachside campfires form this new permanent marker in Earth’s geologic record. Is this readymade a collaboration between man, plastic, sand, and fire? Is it garbage? Regardless, it has the potential to outlive humans. All literature pertaining to the epoch of the Anthropocene interests me.

EDP: Can you describe your “pursuit of the physicality of form”. What strategies do you take and how did this interest come to be important in your work?

AH: I have a background in journalism and I see myself as an observer of the world more than an interpreter. Everything I make, I have somehow experienced in the world. The physical world interests me, things I can touch or feel in my body, trees, rocks, water, wind, objects, etc. I am drawn to detritus and the way it merges with leftover natural matter such as you find in flotsam or jetsam on the beach. But there is another aspect to the idea of the “physicality of form” that has to do with how the work is physically created. Sculpture requires movement of the artist’s body in space and an interaction with materials. Just as a land formation gets eroded through time by wind and rain, in the studio, a work of art becomes what it is through a real physical interaction with the material. I am not interested in fully controlling the material, but in working with it so that it maintains qualities of randomness, gravity, and time.


EDP: Can you elaborate on your interest in materials and the effects they have in different pieces (or one piece)?

AH: The most appealing material I have ever used, I found at an artist residency at CASAPOLI, Coliumo, Chile in 2013. Durvillaea antartica or cochayuyo, as Chileans refer to it, is giant, antarctic kelp whose tendrils commonly reach 24 feet in length. Cochayuyo has many fascinating qualities, it is elastic when wet but will dry to a crispy, leathery substance that is strong, light, and airy. Cochayuyo is edible and is harvested by the locals who fold it into neat packages and put it in the sun to dry. To reconstitute and eat cochayuyo, Chileans soak it in water, so that the kelp becomes malleable once again. The first time I worked with cochayuyo, I used fresh specimens that I hung from the interior windows of CASAPOLI so that its black tendrils contrasted with the white, rectilinear lines of the space. I returned to the United States with several, large, dry specimens of kelp (seaweed is not regulated at U.S. customs). Back in my studio I reconstituted the kelp in a salinated solution and molded it into cuboidal forms. I was interested in this alien/natural material whose powerful tendrils resist the rectilinear confines of the cube and have the power to destroy it.           


EDP: What is next?

AH: I am presently working with industrial, erosion control objects, such as straw wattles, silt logs, and coir logs. These biodegradable geotextiles are used to shore up the land in areas that have been stripped of their original plant matter and soil. The geotextiles are filled with non-invasive, non-native materials such as coconut fiber (shipped from Sri-Lanka to the Midwest), wood shavings, and clean, seedless straw. The "biodegradable" mesh holding the organic matter takes longer to decay than its counterparts, so empty clumps of it are readily visible in highway areas. A bronze version of a deconstructed wattle suggests the head of an emptied scarecrow, or the hoods used on war detainees at Abu Ghraib, or the hoods of the KKK. I’m interested in humanity’s contribution to global warming by mass-producing objects that pollute while simultaneously attempting to “correct” environmental damage. The decapitated wattle seems to me a human trophy in our war with the Earth.

For more reading on this work:


For more about Alexa's Horochowski's work, see



Friday, December 18, 2015

Alexa Horochowski: The Physicality of Form

Cochayuyo, HD video, 9:32, 3-channel, dual projection screens, 13 x 8 feet, 2014


Tape 1: Rope Cube, steel, rope, tar, 10 x 10 x 11 inches, 2014; Cochayuyo; kelp, 16 x 16.5 x 10 inches, 2014.

In my pursuit of the physicality of form I use a wide range of elemental media to render sculptures that defy their native qualities. Hard becomes soft, soft becomes hard, gestures are frozen. Natural objects, flotsam, and ‘naturalized’ garbage, combined with studio-generated objects, suggest a post-human natural history of the future. Sculpture, video, and large-scale digital prints work together to depict the struggle between the human drive to create lasting symbols of culture, and Nature’s indifferent, persistent erasure of these symbols.

The landscape is distilled into distinctive objects that are charged with elements of the alien or unknown. I mold cochayuyo (kelp that grows on the shores of Chile) into cuboidal forms that merge the mechanical with the organic. Sponges are translated into bronze so that they resemble pumice, and natural materials take on the qualities of mass-produced, anthropogenic objects. The work explores entropy and the passing of time by imitating exogenous geologic processes such as erosion caused by wind, water, ice, and human activity. In the exhibition Club Disminución, a fossil of a credit card heralds a post-consumer future, beyond the Era of the Anthropocene.

Essay by Christina Schmid in response to “Club Disminución"



Cochayuyo Mass, kelp, railroad ties, 18.5 x 15 x 62.5 inches, 2014

Credit Card (fossil), casting cement, found Trilobite fossil, 3 x 5 x 1 inches, 2014

          Cochayuyo (Installation View), dimensions variable, arctic kelp, 2012. Installation using found arctic kelp during an artist residency at Casa Poli, Coliumo, Chile.

Cloud Cave (Installation View), dimensions variable, cast bronze, inkjet print, polished steel, brass rod, 2011

Cloud, brass rod, paint, 42” x 52” x 36”, 2011

Cave, inkjet, Dibond, polished steel, 30” x 50” x 40”, 2011

Tall Ships, 2011, 17” x 4.5” x 18” (each), bronze, 2011

                   Rock,2012, 48” x 46” x 55”, stainless steel rod, polished, stainless steel
      Rock is defined by both the reflection on the surface of the polished steel base and the lines      
      forming the sculpture.


Alexa Horochowski grew up in Patagonia, Argentina, and immigrated with her family to the United States when she was nine years old. She received a Master of Fine Arts from the University of Michigan. She has exhibited nationally and internationally including, Braga Menendez Gallery, Buenos Aires; The Drawing Center, NYC; Praxis International Art, NYC/Miami; Franconia Sculpture Park, Minnesota; The Soap Factory, Minneapolis. Horochowski was awarded artist residencies at, El Basilisco, Argentina, Bemis Center for Contemporary Arts, United States, and Casa Poli, Chile. Horochowski is Full Professor of Sculpture at St. Cloud State University, and a 2014 McKnight Fellow. Horochowski’s work is in collections at the Minneapolis Institute of Arts and the Walker Art Center.



Interview: Chuyen Huynh

EDP: When and why did you begin working in the installation format?

CH: I started installations in college because I was interested in shadows and automatic tracing. After college, I continued to expand my practice into life size, site-specific installations with cardboard and tape.  

It is a very meditative process.  I never know what will come out of it. And I can never make the same work twice. All my works are intuitive.

Also, the use of basic, low-cost materials allows me to freely create.

EDP: What philosophy’s influenced your work?

CH: My childhood was spent with my grandfather, a Buddhist monk. This influenced my interest in timelessness and the ephemeral; the idea that nobody can truly own something.

My installations are a learning process that can't be owned. It takes time to create but only two hours to take apart. Taking it apart quickly and throwing it away gives me power, just like the process of making a Tibetan Sand Drawing: the way that it takes so long to make and then is gone in an instant. The process is important and not the end product.


EDP: Can you discuss some works and the ideas behind them?

CH: As I work, I aim for sense of spontaneity and fun. I always had vivid dreams and these have informed my work either directly or indirectly. This can be seen most recently in my works on paper.

Space influences my decisions. I'm merely a transcriber following direction, wherever the environment and materials lead me. 


EDP: What's next?

CH: I'm on a trip to learn healing and self awareness. This will further inform my creative process.  

Chuyen Huynh is a Vietnamese-American artist who is currently living and working in Brooklyn, NY.  See more on her work at