Tag: artistic practice

Sirkku Ketola: The artistic process of performing Paula

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Finnish artist Sirkku Ketola had her performance project A Body Called Paula at the NARS Foundation Gallery in Brooklyn in November. In Finnish the word paula means a ribbon, something to tie or to be enchanted with. It is also a synonym for a trap. Globally Paula is known as a female name, originating from the Greek word ‘Paulus’, which means small.

In her current project of ten years, Ketola creates an installation that mixes screenprinting with performance. Part installation, part performance, A Body Called Paula is a piece that develops over the days of the installation through long-duration printing sessions. The movements and their soundtrack create an enchanting, sensual machine with the main themes of time and temporality, pleasure, and the meditative process of working.

The narrative story behind the performance hunts beauty through the themes of light, passion, knowledge, reality, and depth, finally balanced out by darkness. What is the measure of time? Ornament is a universal form of visual art in every culture. The installation at NARS is part of Sirkku Ketola’s long-term project. For the duration of ten years ‘A Body Called Paula’ produces hand printed ornaments, or ribbons.

Paula prints by Sirkku Ketola.
Paula prints by Sirkku Ketola.

Firstindigo&Lifestyle: What comes to mind, when you think about your project Paula is that it is so clearly beyond the visual practice, or enhances the physicality of the practice. What is so intriguing is how you dive into the embodiment and stretching of the paper. Is it that the body becomes a continuation of the paper in the printing process, as if being one with the paper? What kind of metaphors would you like to highlight, or are being evoked in the process?

Sirkku Ketola: I guess I need touchable material to support thinking and understanding. In this case the handling of color and paper together with challenging technical crafting, tune us as one organism, where the tempo is being set in the cohesion of the qualities of the all included matters. The strength of the body, the sensitivity of the hands and the exactness of the eyes, are sensing constantly the fragility, stretching, moistening and drying of the paper, and the consistency and volume of the ink. The local, or should I say site-specific humidity and temperature effect strongly to the functioning of this paper/colour/body formed sensual machine. Also the instant substance of the body, the general vitality, the emotional ambiance, and for example the daytime, give all some special marks, first to the performance, and second to the visual appearance of the ribbon in progress. Imprint is different during mornings and evenings, also in the beginnings and the ends of the ribbons. I have chosen the long and fragile paper to be forced to lose control. The process is too tiring to hold on it. During the series of the performance the same paper roll goes by my hands 12 times so it is impossible to dominate the quality or the crossing effects of different layers. I just must be humble, and let the ribbon teach me. Maybe the greatest thing is that the ribbons still surprise me even though I’ve been working with the same materials for years. The major errors have been avoided, but the danger of errors are constantly present – everything can be irreversibly spoiled even in the last round of printing.

Sirkku Ketola performing Paula.
Sirkku Ketola performing Paula in Cable Factory, Helsinki, August 2017.

Sirkku Ketola: The ornament arises on paper in stages from light to darkness. The colours (yellow/magenta/cyan/black), except being common from every home printer symbolize light, passion, knowledge, reality, depth and darkness. Step by step these colour layers, as named the elements of beauty, while mixing and uniting approach the truth, the code of life or would I say the mystery.

The hand printed ornament reminds somehow of the DNA. Basically with the repetition of same patterns, the motif is being affected continuously by the changes of the circumstances. All the variations show together endless amount of visual possibilities and diversity. At the same moment the so-called mistakes come part of the entirety and open up routes for the new beginnings.

Today we talk a lot about unmaterialized art, light and it’s different digitalized reflections. I am blown away by it also, the transfer of energy from one equipment to another accomplishes wonderful outcomes. In my own work process the need of touch, the acception of the tardiness of the body as the part of the thinking self, in other words handling with hands, have so far helped me to the deeper knowledge. I choose to cherish this special bodily tempo – it might be good for human species. When one forces oneself to stop by the slow repetition, one might also have time to understand something essential.

Sirkku Ketola performing Paula in New York, November 2017.
Sirkku Ketola performing Paula in Helsinki, August 2017.

 

Sirkku Ketola: To be able to do the metamorphosis to become a sensual machine I had to create a role. My character Paula is simultaneously enraptured and trapped (in Finnish there is a sentence with both meanings, derived from the word ‘paula’ which also is a ribbon). She is a metaphor of a small human in cosmos. The name Paula comes originally from the Greek name Paulus which means small. So my Paula works with paula, with her special ribbon. Her job is to communicate visually by printing this repeating and overwhelmingly beautiful ornament. She wanders globally and communicates of the seen beauty. The previous place sets the next pattern, for example the New York effects to Paula will be seen next spring in Helsinki, Finland.

The machine is slow and time bending. It is a factory that is able to work without problems approximately four times per year. The doctor’s order has set the limit. I forget the rules always in the beginning of the new project, but now, when the Brooklyn ribbon has been finished, the pain in my hands is there and that makes calming down easy. By respecting this manual of the project, it will be possible to enjoy after ten years from now about the yet unknown massive installation, which is made of these forty different and international printed ornament ribbons.

I feel extremely privileged to be able to define the speed of the assembly line. For that reason the pleasure is an important part of the performance. Paula enjoys her movements and the choreography set by the printing process. The ink flows and the paper glides with the hands accepting to follow the weight of the body. The touch varies from strong to gentle and the rhythm beats with the working steps. The birth of the image feeds the will to come along to the anonymous destination. The possibility for sudden challenges forces the printer into the extreme concentration and to overcome difficulties and accept the errors. With the physicality, the mental part is also reacting all the time to the present. The chosen repetition grows thinking and developes strong pleasure.

Sirkku Ketola: Feedback, 2016. Handprinted silkscreen on wood. 81 x 105 cm. Process picture.
Sirkku Ketola: Feedback, 2016. Handprinted silkscreen on wood. 81 x 105 cm. Process picture.

Firsindindigo&Lifestyle: How do you prepare for the performance of this scale, which is almost a marathon? What is the preparatory phase like, and what happens during the performance aftermath?

Sirkku Ketola: During the performing period I take specially good care of myself. I try to do the outdoor activities daily, sleep enough and eat healthier. I try also to avoid the evening happenings and alcohol. The preparation for the performance takes mentally the whole day, but the most intense are the two hours before the show. The soundtrack of the performance follows me since morning. I’d like to highlight, the sound scape of my music and the noise of the printing table are essential elements of the performance. When arriving to the show space I tend to eat lightly and drink a lot of water. After it is time to check all the technical equipments and to mix the printing inks, the hue and the saturation needs to be done carefully. I have a special ritual order to do this. After this, I isolate myself, warm up and slowly become my transformation to the role. Thirty minutes before the show it is time to change the costume and become Paula. She doesn’t speak. The aftermath of the show is quick, washing the make up and changing the clothes are rapid, so I’m soon ready to communicate with the world again as myself. Before leaving I clean the colours and check all the technical details for the next day. When arriving home I stretch well and take a warm shower, except in Finland my choice is sauna.

Paula performance in Nars foundation Photo Nov 17, 3 38 57 PM
Ketola performing at the NARS Foundation in New York, November 2017.

Firstindigo&Lifestyle: How is New York as a place different, and this performance venue special, in terms of what is their impact on the quality and outcome of the work? How is the location different from the rest, say, Canada or Finland where you also created this performance piece?

Sirkku Ketola: The place impacts mainly how the performance is being installed. I like different spaces because they challenge the art work and keep it impossible to predict. The space in NARS in Sunset Park in Brooklyn is many ways special. First, it is near the Finntown, where there was a strong community of Finnish emigrants. During today’s new emigrations flow it felt important to mark the difficult roots of my own country. Second, the size of the gallery was perfect for the project. It fit there well, both visually and functionally. Third, the space is in the building, which is full of working artists, situated in the middle of the industrial Brooklyn. Where else should the sensual machine be? I came to New York as a visiting artist-in-residence of Finnish Cultural Institute for two months. My main goal was to research the structures of the money and power in the contemporary art scene. Beyond A Body Called Paula –project I started to sketch the new large-scale print installation referring to this research theme. The work will be produced during next three years. My colleagues in Brooklyn taught me a lot about independent artists’ living at the capital of contemporary art (NYC).

Paula, NARS foundation.
Paula performance, NARS Foundation in New York, November 2017.

The physical dimensions and the quality of the NARS space gave the rhythm for the installation when growing during the performances. The intimate gallery of the Sunset Park made possible to the paper ribbon to take a shape of a visually fine zig zag when it landed to dry to the perches I mounted. Also the rest of the visual elements of the performance found their places to create a dynamic composition. There was space for Paula to move and the audience was able to have several standpoints. The space was also photogenic with A Body Called Paula – and that’s important in our social media time.

This was the fourth time and the fourth place for Paula. In Toronto it was seen in a gallery with the long hallway. There the magic of Paula worked like in the story of the Pied Piper, when people saw the action from far, they just had to reach to the space. In Helsinki Paula measured the huge hall in Cable Factory during the five hours marathon performance. And in Turku, Finland she worked behind the lightened window in the darkness of the first autumn evenings by the riverside. And in Brooklyn she captured the industrial space around the other artists. I believe that during the next ten years, Paula can capture many different structures and spaces as rich as she has done in her first year of the process. The big scale quality will be seen in the end of the whole process. All in all, these places are valuable treasures for me, and will affect the final installation.

 

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Next time A Body Called Paula will be seen in Helsinki in March 2018. After that Sirkku Ketola travels mostly in Central Europe. She will be back in New York City during autumn 2019.

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The screenprints made in New York have been prepared at the Robert Blackburn Printmaking Workshop: http://www.efanyc.org
More information:

Introduction: http://sirkkuketola.com
Previous exhibitions: http://www.la-bas.fi/ketolaeng.html

Patricia Chow and the meaning of ultramarine

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By Patricia Chow

I moved to Los Angeles in 2014, after 11 years as a New Yorker. During those years, I went to graduate school, began and finished a career, learned to love opera, and mounted my first fine art exhibition – a crowd-sourced photography group show that was simultaneously a fundraiser for the nonprofit where I was a board member. What I never did in New York City was paint. At the time, my relationship to painting was purely as a viewer, standing a respectful distance away, wondering how in the world they did that. Who would have thought that three years later, at the instigation of my Los Angeles painting professor, the indomitable Barbara Kerwin, that I would find myself pursuing a graduate degree in painting?

 

Our first-year MFA group show was titled “Twelve,” for the 12 of us that started the MFA in Art program at Claremont Graduate University this past August. The works I created for the show were made with oil pigment sticks, built up into a thick impasto texture by smashing them onto the canvas with a palette knife and mixing colors alla prima. The paintings are about the loss of meaning and culture through the generations and across the seas. Words, behaviors, rituals become hybridized, sometimes beyond recognition, when transplanted to a different environment, just as language and writing change over time, eventually past the point of intelligibility. Each of my paintings starts with a Chinese calligraphic text, drawn in black, that becomes obscured through layers of superimposed texture and color, ending in a very different visual experience compared to the black and white text that “birthed” it.

Patricia Chow in the MFA-exhibition.
Patricia Chow’s two paintings pictured left in the Twelve-exhibition at the East and Peggy Phelps Galleries.

The largest painting (60 x 48 in.) is titled “Outremer” (French for “ultramarine”). The cool colors and coral-like shapes evoke underwater life, but the title also refers to the French territories in the South Pacific (called “outre-mer” in French, meaning “overseas”), that were visited by Gauguin and others interested in the decidedly un-PC idea of “primitivism,” and also where France has conducted a large number of controversial nuclear tests. Thus, in addition to the Chinese text being washed away “underwater,” the painting’s title also alludes to aspects of modern world history that some might prefer to be swept under the rug.

Patricia Chow with her paintings.
Patricia Chow with her recent paintings.

 

Each of my paintings starts with a Chinese calligraphic text, drawn in black, that becomes obscured through layers of superimposed texture and color, ending in a very different visual experience compared to the black and white text that “birthed” it.

 

Patricia Chow is a Los Angeles-based artist whose abstract paintings engage the intersection of Eastern and Western cultures across time and space, and the hybridization and reinterpretation of meaning. She is currently a first-year MFA student in Los Angeles, CA.

Twelve is on view at the East and Peggy Phelps Galleries, Claremont Graduate University, through October 20, 2017.

Interview: Marina Celander explores theater with intention

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New York City based performer Marina Celander crosses boundaries in her artistic practice, which combines a variety of genres and approaches to making art. Her solo performances echo authentic voice, and her deep participation on stage with theater groups comes across as statuesque, moving, gentle and charismatic. Marina Celander is born as Swedish-Korean, and is a recipient of 2014 Lilah Kan Red Socks Award for her outstanding contribution to the Asian American professional theater in New York City.

Firstindigo&Lifestyle: What choices did you make to become an actor, what is your background in the field?

MC: I started out as a modern dancer. After I graduated from London Contemporary Dance School I moved to New York and danced for a bit with various companies and choreographers. At one point I decided to take acting classes, which was something I had always felt I wanted to try but was afraid to do, and started studying with Gene Frankel at the Gene Frankel Theatre Workshop on Bond Street. Despite my fears, I took that first class with Gene and I remember feeling so elated and high, almost, as I stepped out from the darkness of the theater and in to the sunshine on the street. From that moment on I knew I had found what I needed to do with the rest of my life.

Firstindigo&Lifestyle: Where were you born and raised, at least Sweden is on the map?

MC: I was born and raised in Sweden. I grew up in Malmö which is in southern Sweden, right across the strait from Copenhagen, Denmark. I lived in London for three years while I was studying dance, and then I moved to New York when I was in my early twenties. I have been in New York ever since! I go back to Sweden every other year or so to visit my family.

Firstindigo&Lifestyle: You have performed with Yara Arts Group that is based in La MaMa Theatre for many years. How did you find yourself part of the company?

MC: I auditioned for a show that Virlana Tkacz, the artistic director of Yara Arts group, was putting up at La MaMa in 2000, called Circle. This particular show was special in that it had actors and musicians from Buryatia and Mongolia, as well as us New York actors. We had the chance to learn to sing these hauntingly beautiful Buryat songs from the Altai mountains. Two years later I traveled with Yara to Ukraine to sing Ukrainian folksongs, and visit Babushki, the grandmas, in the villages of Kratchkivka in Poltava and Svaritsevichiy in Polissia, and then we performed in Kyiv. This trip was also lead by Ukrainian singer, Mariana Sadovska, who was the musical director for our performance. Ever since then I have come back to work for Virlana in various poetry readings and events that she hosts, as well as being part of some of her theater productions.

Firstindigo&Lifestyle: Virlana Tkacz, one of the founders of Yara, and the director of the company, and many company members have a Ukrainian cultural background, But Yara is appreciated as multicultural in its productions echoing ideas of a World Theater. Did you find this conception as a great home for your own performance identity?

MC: Yes, I am really attracted to the idea of World theater. It is very fitting that Yara Arts Group is a resident theater company at La MaMa, because it is the home of World theater. Ellen Stewart, the founding mother of La MaMa Experimental Theatre, bravely and courageously invited individuals and companies from all over the world to perform and work at La MaMa.

Yara is an exciting company to work with, because of the always multi-lingual performances and multi ethnic cast. Lately, Virlana has been working with Ukrainian artists, but in the past she has worked with artists from Buryatia (in Siberia) and Kyrgyzstan. As a woman of color and a theater artist, I always deeply appreciate directors who are not type-casting based on ethnicity and race. In downtown theater in general, but at La MaMa in particular, I have always been given opportunities to act in a myriad of roles where my ethnic make up is not important. Virlana has given me and many other actors of color opportunities. I believe that putting a minority actor on stage for no other reason than the fact that (s)he is a good person to have in the show, is always a strong choice against the established order of theater in the West.

Firstindigo&Lifestyle: In 2015, you were part of a production that directly was touching Ukraine and the war that was happening on a huge crisis level there. Yara’s production premiere ‘Hitting Bedrock’ took place in La MaMa, (it was conceived and directed by Virlana Tkacz, set & light by Watoku Ueno, music by Julian Kytasty, assistant director: Wanda Phipps). Your role in the work was central. Tell more about your role and how it shaped in the context?

MC: The production Hitting Bedrock, was an important production as it addressed the war in Eastern Ukraine. My character was The Refugee, and her significance in the piece was that she represented all of those humans, women, children, men, the elderly, that have been rendered homeless because of the war in Ukraine, and elsewhere in the world. She represented all of those that have had to leave something important behind, a memory, a treasure, a family member, a secret, a lover, old letters, a photograph… It was a role that moved me deeply. As a result, that summer (2015) I went on a self financed, crowd-funded trip to face paint and give dance workshops to children in refugee centers in Ukraine.

Firstindigo&Lifestyle: In this play, the audiences had a participatory role. At one point, we were asked to give our belongings away, and were offered big tote bags instead, to put our coats and personal items in them. This was altering a perception from an audience member’s point of view into the experimental, perhaps reminiscing the point of view of people in the war. In what ways did being a central actor discussing your war losses while audience is so close to you, alter your own performance? Did this event change you?

MC: Yes, the audience were forced to walk through a long corridor in the basement of the theater, and thereafter they were asked to give away their personal belongings only to have them put into bags. The audience immediately got those bags back to hold for the remainder of the show, but many felt uncomfortable and some refused to give up their belongings even for a second. We had brusque and insistent “guards” in uniforms commanding people to go here, put their stuff there, go up, sit down, etc. When the audience had finally arrived in a “holding area” after having been shuttled around with their big bags, they had to witness the guards doing the same to me. The guards demanded to see what was in my back-back, and I showed them my toothbrush and my papers. At this point the audience is really right next to me in the holding area. Having the audience being so close to me, being one of them, really does something to the performance. As an actor I loved feeling them so close, feeling their reactions to me, their doubts, their fears, and them feeling my fears. It was also a little intimidating when on one occasion we had a lady who was a little drunk in the audience, and she was shouting quite aggressively at the stuff I said. That was worrisome, because she was so close.

Firstindigo&Lifestyle: Besides being an actor and performer, you handle multiple different roles. How did you come to dancing and performing Hula?

MC: Yes, I handle multiple different roles in my life on a daily basis. I am a mother, and an artist, a teaching artist, performer, face painter, a freelancer. I wake up every morning thinking, what am I doing today?

I started dancing Hula, traditional Hawaiian dance, in 2000, after finding an organization that gave beginner hula classes. I was very fortunate to stumble upon the Hawaiian Cultural Foundation (HCF), and there I studied with Michelle Akina, Janu Cassidy, Keo Woolford and kumu hula June Tanoue. I have since been involved with a hula halau, hula school, Pua Ali’i ‘Ilima o Nuioka, under the leadership of kumu hula Vicky Holt Takamine.

Firstindigo&Lifestyle: What is your connection to the hula/Hawaiian community in New York?

MC: It’s a small, but growing, community of Hawaiians, and Hawaiians at heart, hula lovers, and Hawaiian language and music lovers and enthusiasts. It is a beautiful and loving and inclusive community of people from all over. My connection is through hula.

Firstindigo&Lifestyle: A very interesting part of your practice is also face painting. That is a skill that requires another set of imagination and sense of personality in people. How did you start?

MC: I started face painting for my own children’s birthday parties, and it grew from there. Now I do other kids’ birthday parties. It’s a small side business, and I get clients usually through word of mouth. I really enjoy the face painting, and it makes me happy to paint kids’ faces.

Firstindigo&Lifestyle: In 2016, you created a solo work for yourself that was performed in Sweden. The work titled Mermaid’s Howl, handled a theme of you mother, and her Korean identity. How did you experience the project from the point of view of her identity, and your own, adding into the narratives that are so personal?

MC: I created a solo show called Mermaid’s Howl and performed it at the Stockholm Fringe in 2016. The story had been a long time in the making. As early as 2013, I had talked to my friend and mentor, Fred Ho, about my idea of writing a solo show. He quickly said, in typical Fred Ho style “Write it, I’ll produce it. Here is your deadline, use it.” He unfortunately passed away before that came to fruition, but I stayed true to my promise to myself and to Fred, to finish writing that piece. I am grateful to the Stockholm Fringe Festival for inviting me and giving Mermaid’s Howl its premier.

The story is about me growing up in Sweden and finding out who my mother was, and finally being able to connect the dots in my adult years. Connecting the dots from me, to her, to all of our maternal ancestors. The play is part dream, part real memory snippets, part madness and part immigrant mother-daughter story. It was a deeply personal process, of course, to write this play, which delved into questions of what is must have been like to an immigrant woman, all alone in a completely foreign country, without family, to raise a child on her own, have her dreams crushed or set aside. It also explores the question of women and madness, and what it means for women to not be able to fully express themselves as artists and human beings in a society that sees women as less valued than men.

(For a little more detail to this story and an except of the play you can go here: http://riksha.com/mermaids-howl-an-excerpt/)

 

MARINA CELANDER, MERMAID’S HOWL – PHOTO YOUN JUNG KIM
MARINA CELANDER, MERMAID’S HOWL – STOCKHOLM, SWEDEN 2016

 

Firstindigo&Lifestyle: Was the theme of mental illness and it’s feminine counter-narrative hard to project into a play?

MC: Mental illness is a topic that is still not openly talked about, it’s a little taboo. I wanted to bring it to the forefront and not skirt around the issue. Without glorying mental illness, I wanted to shine a light on it from a different angle, to let people see that there may be a societal value to possessing a different sight and different viewpoint from what is deemed “normal”. Normal is a societal rule, and normal is different in other cultures. In the West there is absolutely no point to mental illness at all. It is just a nuisance, a bother, a hindrance, a difficulty, something to be shunned and stowed away, far far away. I am not saying that it is not utterly devastating when serious mental illness occurs in a family, but I am saying that there are options as to how you would view someone with a divergent view of the world. Those with divergent behavior can actually have value in society, their divergence is seen as highly creative as well as highly unusual and abnormal. At the same time, madness in women have always been a tool to belittle and demean women, to incarcerate “difficult” women, and put women in their place by the patriarchic machinery.

Firstindigo&Lifestyle: The play also involved projections as part of it, tell more about the visual and performance collaboration?

MC: I had three amazing collaborators. The electronic score was composed by Dåkot-ta Alcantara-Camacho. The costumes were designed and made by Jane Catherine Shaw, and the projection design was made by Youn Jung Kim. Youn Jung knew my play very well. She was a student of Fred Ho, that is how we met. In the beginning of the writing process she and I used to meet regularly and have our little mini-writing labs, where we shared, read and discussed our work. Because of her connection to the piece from the start, she really knew the flow, the pace, the colors, the feelings of the piece. The projections grew out of her intimate knowledge of the story I wanted to tell, and her receptiveness to my suggestions made the working process so easy.

Dåkot-ta created a score that was so sensitive and evocative, and reminiscent of water and forests and shaman drums. His sounds were instrumental in setting the scenes for particularly relevant moments in the piece. It really was amazing to hear the music loud, with real speakers, for the first time! Goosebumps moment! Cathy made these amazing creations that felt magical to wear, and helped me grow into the characters I was portraying in the various environments.

Firstindigo&Lifestyle: What would you like to say about the performance experience in Sweden, did you feel you were at the crossroads of cultures while bringing the work there?

MC: I didn’t necessarily feel I was at a cultural crossroads in Sweden, but my piece, Mermaid’s Howl, is an exploration of my cultural heritage, so it was very fitting to have its premier in Sweden. Performing in Sweden was a homecoming of sorts. Being bi-racial I guess means you are a hub for cross-cultural activities within you.

Firstindigo&Lifestyle: This play involved also a Kickstarter- fundraising, and the audience was able to have a glimpse into the concept and to you as a person. What was this campaign process like?

MC: Yes, I decided to crowd-fund with Kickstarter as it seemed as the most reputable and an easy way to go. The opportunity to go to Sweden came up very quickly as I was invited to perform with Mermaid’s Howl just a couple of months before the festival started. I had to come up with the funds to go very quickly.

Youn Jung Kim is a great conceptual artist and photographer and film artist. She has a great eye and a great feel for what works and she listened to what I wanted to convey in my little promo video. From the short interaction we had on camera she created a little gem of a video for my Kickstarter campaign.  (You can view the campaign here: https://www.youtube.com/watch?v=pq4-2zW7GZ0)

Firstindigo&Lifestyle: You are an activist in social platforms. You have performed radical acts in public places, closing yourself in a body-bag for instance. Tell more about the involvement. Do you think activism can change the dominant narratives in crisis? Are you an optimist?

MC: Yes, I’m always an optimist. The particular event you are mentioning was Belarus Free Theatre’s demonstration in NYC against Capital punishment in Belarus, where young people disappeared and their families were not notified of their deaths, and never received their bodies back. This was an event planned together with La MaMa. We gathered by City Hall, and then walked over to Foley Square, where we crawled in to body bags, zipped ourselves up and laid still for 30 minutes to raise awareness of the issue. We had monitors who were watching us to make sure nothing came to pass as we were inside the body bags, or in case anyone would freak out they could quickly zip us open again. It was a very intense experience, I have to say.

As artists we have an obligation to tell stories where we stand up for the underdogs, speak up for those weaker than us, for those who do not have a voice or platform with which to tell of their story.

Firstindigo&Lifestyle: What new adventures do you have planned?

MC: I performed a first draft, a first work-in-progress version, of a new solo show called Shakespeare’s Sisters at Dixon Place in NYC in January of 2017. My plan is to perform it again in a larger venue and to see the piece grow. Mermaid’s Howl will also be traveling to Massachusetts sometime in the near future. We are working out the details now, so I will tell you more when I can reveal more, but I am very excited that this show will have a future life.

MARINA CELANDER, SHAKESPEARE'S SISTERS, DIXON PLACE, NYC 2017 - PHOTO SALLY MINKER
MARINA CELANDER, SHAKESPEARE’S SISTERS, DIXON PLACE, NYC 2017 – PHOTO SALLY MINKER.

Firstindigo&Lifestyle: You are also performing with Yara in their new production?

MC: I’m currently performing with Yara Arts Group’s new show at La MaMa called 1917-2017: Tychyna, Zhadan and the Dogs. Again, it is a project based on Serhiy Zhadan’s poetry. It was shown this spring in Kyiv, by a Ukrainian cast, and now it’s our turn to put our spin on it. Serhiy and his punk-rock band, The Dogs, are in New York performing with us. It’s an exciting show! It’s always very special to perform with a live band. Other musical elements in the show are Julian Kytasy’s bandura compositions.  This piece makes us reflect on the concept of tyranny and how easily it arises – it did in Europe in 1917, and now in 2017 we are currently in danger of allowing it to rise again. The show opened on Friday June 9 and runs at LaMama ETC until June 25, 2017.

***

Information about the Yara’s 1917-2017: Tychyna, Zhadan and the Dogs at La Mama here: http://lamama.org/tychyna/

Marina Celander on vimeo: https://vimeo.com/user26138773

Aimee Lee about sound, art books and hanji

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Aimee Lee is an artist, papermaker, writer, and the leading hanji researcher and practitioner in the United States. With paper, she makes thread, sculpture, books, drawings, prints, garments, and installations. Aimee Lee’s background as a performing artist and musician carries traces of paper as sets and costumes. Her installations are artistic research on paper and sound. She has pursued a career with traditional Korean hanji, coming up with new aesthetic concerns and techniques for her artistic practice.  As a scholar, she is author of award-winning book, Hanji Unfurled (The Legacy Press).

Firstindigo&Lifestyle: You are a musician, a performer with live violin. How did you start creating performances onsite, including your own installations, manifesting set designs and creating costumes? Did everything start with music?

Aimee Lee: My early aspirations were to become a concert violinist, but I learned in college that I was not serious enough to devote the requisite hours of practice and study. However, I still loved music and wanted to stay close to musicians, so I continued to play and my first jobs were in music administration—bringing music to people who did not have access, or bringing people together through music.

When I moved to Chicago for graduate school, I entered an interdisciplinary program that encouraged combining different media, especially performance. It was a book and paper program, but I was interested in the intersection of books and performance. Once I began to make paper, the connection between paper and performance was so compelling that I created installations that were dependent on paper that I made. The performances, which almost always included sound from my violin, activated the installations.

 

 

Firstindigo&Lifestyle: Some of the live performances, which you composed and put together implement almost haunting kind of sound that responds back from the architecture of the venue, and then audience is stretched to interactive listening and feedback, where did you get the ideas to make these works?

AL: Mostly, I studied classical music, but later learned improvisation and jazz. The heart of what I have always loved to do is rooted in improvisation, whether or not I was aware of it. Human communication, which sound and music are, has always fascinated me, so I wanted immediate feedback and interaction with my audiences. In Chicago, I was influenced by performance residencies with Aaron Williamson and Greg Allen, and by Julie Laffin.

Firstindigo&Lifestyle: Now, we can perhaps say that you have become a master of hanji, the Korean traditional paper making. Where did you find the enthusiasm to start exploring it, and how did it come about?

AL: While I studied papermaking history in the graduate school, I noticed that it began in China, moved to Korea, and then traveled to and flourished in Japan. Most of the existing research in English on East Asian paper was based in Japan, and I was unable to find much about hanji (Korean paper). I grew up at a time and place in the US where people always tried to guess my heritage, but they could only imagine that I was Chinese or Japanese. This sense of Korea being overshadowed affected me deeply, so I felt a curiosity about Korean paper history. My Fulbright research in Korea uncovered an entire history and culture that fascinated me on all levels, as an artist, a researcher, a Korean American, a person in the world. After my return to the U.S., I felt a strong responsibility to share what I had learned. I would never call myself a hanji master, but will always be a steadfast hanji ambassador and artist (read Aimee Lee’s exhibition review in Firstindigo&Lifestyle)

Firstindigo&Lifestyle: Is the knowledge of making hanji widespread in Korea today, how about the new generations and passing down this historic form that goes back hundreds of years?

AL: Korea has similar issues to the U.S. and other cultures where the current knowledge of traditional craft by the general public is quite limited. It is not a priority in contemporary life, so not many people in Korea are aware of the process of making hanji and its impact on Korean history. There are less than 25 paper mills remaining in Korea, and very few have serious apprentices, because it’s not an easy living. In a world where you could live and work in an urban center with all the amenities you need, why would someone decide to live in a rural area doing manual labor for very little money? There are no good incentives to do the work, even if you believe in continuing an ancient and important tradition.

Firstindigo&Lifestyle: How sustainable is the process, could you tell about the ecological aspect of the paper making?

AL: Papermaking on a small scale (meaning individuals or families who are in business) in Korea is ecologically sustainable, though it may not be financially so. The main raw material is the paper mulberry tree, which is cut each year. This coppicing practice encourages the plant to grow back every year, so the same plant can produce material for over 20 years. These are not trees in the way Western minds think of hardwood lumber: they are tall and skinny, almost shrublike, and cutting them down does not kill the plant. The traditional methods of processing always used plant materials so that production byproducts were easy and not toxic to dispose of or reuse. The bulk of the energy that goes into making hanji is human energy, which means that the process is very labor intensive but has a very light ecological footprint.

Aimee Lee discussing hanji at the Korean Cultural Center, NY, March 2016
Aimee Lee discusses hanji objects at the Korean Cultural Center in New York, March 2016

Firstindigo&Lifestyle: Is it correct that Hanji derives from nature, or implies a closeness to it?

AL: Hanji is made from plants, and could never have been invented without a human closeness to non-human nature by observing the possibilities of certain species and experimenting over time. Dorothy Field, artist and author (my favorite is her book Paper and Threshold) writes beautifully about how certain plants long to become paper, and all they needed was the human hand to let them reach that state.

Firstindigo&Lifestyle: Can Hanji accessories, or clothing, be compared to textiles, or is it irrelevant?

Paper and textile have a very strong connection, aside from each being able to be transformed into the other. The first paper was made from hemp cloth, and hanji can be cut, spun, and woven into cloth. Hanji has been used to make clothing, and today’s contemporary designers and manufacturers are including hanji into their textile production.

 

Aimee Lee, All there, 2016. Dye on paper, thread. 11 x 11.5″. Private collection.
Aimee Lee, All there, 2016, Dye on paper, thread, private collection.

Firstindigo&Lifestyle: You are teaching as well, could you tell about the workshops and education aspect?

AL: I mentioned before that sense of responsibility to share knowledge about hanji to a much wider audience. Part of this is from a conservation instinct, out of a fear that hanji is disappearing. But most of it comes from a joyous instinct, out of my love for this material that is so endlessly versatile. I always knew that handmade paper had great range, but even after almost a decade, I continue to find possibilities for hanji. If the substrate was not impressive, I would not feel compelled to promote it. However, I want people to know about hanji as an option, so that they can have another tool in the toolkit. This means that I teach a range of workshops, from preparing fiber to making hanji to manipulating it by hand. I travel continually to spread the word, in the hopes that eventually hanji will become as familiar as other papers, and that paper itself can be regarded on the same level as canvas, clay, metal, glass, wood, and so on.

Aimee Lee, Beating fiber to make hanji while teaching students at Paper Book Intensive 2016 at Ox-Bow in Saugatuck, Michigan.
Aimee is beating fiber to make hanji while teaching at Paper Book Intensive 2016 in Saugatuck, Michigan.

Firstindigo&Lifestyle: The aesthetic form of Hanji art and folk art influences your making, how do people receive these traditional objects, which you are making today?

AL: Most people don’t know about the lineage of the objects, so the responses are mostly of wonder—they are amazed that my pieces are made of paper in the first place. This provides an opening to share the stories of their historical use, and illuminate the ways that humans have always made objects that are not only useful, but embedded with meaning. Some have asked if I am interested in using the techniques to make much more contemporary ‘looking’ art. I have wanted for years to extend crafts like jiseung into installation and larger work that goes past the original shapes and functions of their predecessors. The issue is that the time and labor that it takes to make one piece is so great that I could only go in that direction if I had a very long and uninterrupted stretch of time to work. However, I am gratified to see that some of my students are moving in that direction after learning about hanji and its applications.

Aimee Lee, hanji duck, Korean Cultural Center, March 2016
Aimee Lee, hanji duck, exhibition at the Korean Cultural Center, NY, March 2016

Firstindigo&Lifestyle: What other materials do you use today in the making of your art?

AL: For the longest time, I have been very strict about using hanji whenever possible, or other handmade papers. My thread box is always full of different paper threads I have made, though I use cotton, linen, and silk thread to sew my hanji dresses. I also use the raw materials that make these papers, such as the cooked bark before it is beaten to a pulp. I use mostly natural dyes and finishes, which add color, structure, and protection to the paper. Last year, I collaborated with Kristen Martincic on a paper and ceramic installation, and recently had a couple of jewelry metals artists help me with additions to my paper ducks at Haystack Mountain School of Crafts. I’m interested in continuing this last investigation further.

Firstindigo&Lifestyle: What is fascinating about your use of paper is its multiple dimensions from small objects to books. Your own writing and art (illustration) is sealed into these art books. Tell about the books, which you have made, how did the stories develop?

AL: Books came first for me, before paper. I was making artists’ books at Oberlin College while studying with Nanette Yannuzzi Macias, which was a game changer. It was a way to combine writing, drawing, storytelling, and all kinds of other media into a form that felt very familiar and yet new. I don’t remember when I started to draw comics, but like improvisation, it was something that came naturally to me. I always thought that the point of being able to make my own books was the ability to create all of my own content. Most of my books contain original writing and stories that come from my own life experience, literature that I love, and the immediate present moment—whether an emotional space or an actual time in history that could be marked in the news cycle.

Aimee Lee, Lapse relapse, 2015, ink and persimmon dye on kozo and hanji, thread. Oberlin College Art Libary collection.
Aimee Lee, Lapse relapse, 2015, ink and persimmon dye on kozo and hanji, thread. Oberlin College Art Libary collection.
Aimee Lee, Blue moon, 2015, Naturally dyed, spun and woven mulberry paper, mildweed paper covers, thread, 4 leaves.
Aimee Lee, Blue moon, 2015, Naturally dyed, spun and woven mulberry paper, mildweed paper covers, thread, 4 leaves.
Aimee Lee, Figure and ground, 2006-2011, pen on handmade paper, tacket binding, 12 pages, CIA Gund Library Collection
Aimee Lee, Figure and ground, 2006-2011, pen on handmade paper, tacket binding, 12 pages, CIA Gund Library Collection
Aimee Lee, Arithmetic, 2016, Pencil and stamped foil on handmade paper, 300x300
Aimee Lee, Arithmetic, 2016, Pencil and stamped foil on handmade paper, 300×300

 

Firstindigo&Lifestyle: Do you travel to Korea to get new ideas and exchange?

AL: I am able to get back every several years, whenever I am funded. However, because of the distance and difficulty of making enough time to visit (I prefer going for longer periods of time), it’s not a journey I make often. Certainly it is inspiring, but it is a challenge as well because the expectations of me as a Korean American woman can be stressful.

Firstindigo&Lifestyle: Often you hear that there is a division of thought between Eastern and Western approaches or philosophies. Do you feel you are bridging the gap between east and west in your practice, or do you think about these questions?

AL: This idea comes up often and much of my work can be seen as bridge building between cultures. However, I do my best to stay away from the reductive nature of “East/West” because it sets up an automatic “Us/Them” mentality that can become dangerous. My life experience of feeling reduced to a single word, automatically, because of how I looked, keeps me aware of the unconscious instincts we have to categorize everything. I prefer to present my scholarship and artwork as being rooted in and inspired by many different traditions and cultures. It’s impossible for me to work any other way because I was born to immigrant parents and always lived between at least two disparate cultures.

The “east meets west” cliché is one I particularly dislike, as if it has just happened, and as if there are only two monoliths in the world. It also comes from the point of view of a certain place being the center or more superior, which is problematic. Most cultures around the world have been in contact with each other for centuries, so cross-cultural understanding is not a new thing or an anomaly. Rather, it’s the norm.

Firstindigo&Lifestyle: Where do you see yourself as an artist and educator in the future?

AL: My goal is to build a new hanji studio for myself, where I can work, make paper, and teach independently, while continuing to travel to teach and exhibit. I want to train apprentices in this new space so that I can increase the number of people who can support hanji. There’s at least one more scholarly book left in me as well, so I look forward to finding the ideal setting to properly research and write it. All of this will be unlocked, I think, once I find the right place for myself to be.

… … …

Check out Aimee Lee on web: http://aimeelee.net/

Her artists’ books can be found under the Bionic Hearing Press imprint from Vamp & Tramp.

 

 

Interview: ruby onyinyechi amanze, drawings on paper

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ruby onyinyechi amanze embeds a notion of scholarly artist in a true sense. Next to her large drawings on paper stands a mind that is influenced by spatiality in a geographical sense. The artist employs a design sensibility that gives her drawings variable perspectives. ruby amanze completed her art degrees, worked in art institutions, and as the Director of Education at the Museum of Contemporary African Diasporan Arts (MoCADA). She was a Fulbright Scholar teaching art at the University of Nigeria, Nsukka in 2012-2013. Currently, while still teaching art, her artistic practice evolves in a studio located in Brooklyn, New York City.

Firstindigo&Lifestyle: It is fascinating how you translate the theme of hybridity into formations with so much vivid color and fluidity. Do you think this resonates with the fact that you were transferring between various continents?

ruby: Most definitely. There is a way of being and moving in space, that I feel is unique to the experience of having come from many places. Automatically, there is less permanence associated with land (geography) or a sense of home. My understanding of home was that it changed a lot. So I adapted into a shared consciousness that home equates fluidity. Also, that my physical body had the right to claim space wherever I was- nothing felt off limits. I started to identify myself as a hybrid and to recognize that there were many narratives of hybridity. Initially, there was an idea that people who moved in that kind of way didn’t belong anywhere- that they had no home and somehow weren’t “authentic”. Or that they lost something…something they would always search for. I disagree.

I feel that my life is enriched by these multiple homes. I meet people from all over the world who have had similar transcontinental experiences, and I know I’m part of a borderless, expansive “country”. We don’t have a landmass. But the space is a legitimate one. A lot of this informs my spatial decisions in the drawings.

 

What does being ‘African’ mean to you personally, was there a strong sense of a Nigerian community in England where you grew up? 

ruby: Being African for me can mean many different things, depending on the context. Generally speaking, I think it’s far too broad and simple of a “classification”. What I know of Africa is miniscule compared to its vastness. And that goes for any of us, who refer to the region so lightly…the truth is we know next to nothing. Even to zoom in to Nigeria, where I’m from- the same sort of complexity exists. Non-African colonizers, as is the case for many – if not all African ‘countries’ – arbitrarily decided the country’s borders. The writer Taiye Selasi said in a Ted Talk, “nations are concepts”. They’re inventions. She said that what makes more sense, is to think about where you are ‘local’ of, as opposed to a ‘national’. I think this is true, so while I was born on the landmass we call Nigeria, what is more accurate to say right now, is that I have a relationship with the city of Lagos. That’s what I know most of Nigeria. That’s where I have friends and routines…where I invest time and spirit. That’s where I am at home. Yes, there was and still are, large communities of Nigerians throughout England. Growing up there, my family was part of a circle of families that emigrated around the same time, some of whom had known themselves in Nigeria prior to relocating. My generation of this circle is still close. We grew up essentially as cousins.

When did you start making art, how did your career path take direction?

ruby: I’ve been making art, and identifying as an artist, since I was a small child. It has always been, everything I’ve wanted to do and be. My pursuit of it was single minded. At every point that there was an option, I chose art. Coming from a family of Nigerian immigrants, who had grown up with the societal framework that art is not a career, I had to be quite stubborn and relentless in advocating for it. To my favor, I excelled in all academic areas, so my parents didn’t fight me too much, and perhaps took the mentality of ‘waiting it out’ to see if it would pass! It didn’t pass and here I am today, as I knew I would be. All of my life choices have been around art. I did my B.F.A and M.F.A worked in art institutions, taught art (and still currently do)…The turning point for my career was when I decided to leave the best job I’d had, as the Director of Education at the Museum of Contemporary African Diasporan Arts (MoCADA). I left to do a Fulbright on contemporary drawing in Nigeria. It was a year commitment primarily to the studio. When I returned, there was no going back to anything other than a full time dedication to my career as an artist. This was the best decision I ever made…

ruby onyinyechi amanze, works on paper, detail
ruby onyinyechi amanze, mixed media works on paper, detail. Mariane Ibrahim Gallery, The Armory Show, 2016. photos: FirstindigoandLifestyle

Can you recall your aesthetic language? Somewhere in the drawings/paper, the characters dance, move, and seem to be very mobile?

ruby: Funny that you say that, as I’m influenced a lot by dance, performance and movement languages such as Gaga (that I recently discovered and have since incorporated into my extended ‘studio’ practice). Also films…slow moving, non-linear, beautifully ‘choreographed’ spaces and exchanges. I go to the cinema every other week if I can, and am completely absorbed into the imagery. It’s like going to library and collecting books for research. I collect images, not knowing when or how exactly they’ll resurface. Architecture and design influence my imagery a lot.

In hindsight, I’m aware of many instances where I aligned myself with design conversations and practices. I don’t think I had the language to make the connections before…to talk about my drawings as design. It just was a pull that I kept following. After my M.F.A, I contemplated returning to school to study architecture. I think architectural drawings are so beautiful. And the ways they think about space, as something malleable that can be shifted or constructed, is fascinating to me.

Your drawings on paper seem to be narrating things, and yet say something very poetic in their way of leaving lots of white space around the figures and colors. How about, are any of these patterns and colors influenced by some African aesthetic traditions, and folk features?

ruby: I think of the drawings as non-linear narratives. Story telling is a fluid art, and even when it’s ‘true’, there is always an element of fiction in it. I’m a storyteller. And I leave space for the viewers to insert themselves or participate in constructing the narrative. There are clues- some of which come from actual experiences (mine or sampled), some of which are entirely fabricated. I don’t feel any obligation to give the viewer everything. Nor do I feel that art is a platform solely for me to communicate a particular and clear ‘message’. That’s not my job as an artist.

While spending time in Nigeria, what did you learn and study? How was the experience like; did it feel foreign at times, or was it more like returning home?

ruby: I’m sure I learned many things…but mostly from the normal day-to-day living, as anyone would wherever they found themselves. There were no grand epiphanies. Generally speaking, there was no “adjusting”. I wasn’t there as a student, but in the position of a professor, I think there’s always a reverse learning that happens in the classroom- if nothing else, how to be a better professor. I was there and it was my home, my life- it felt familiar. Of course, there were things that were different. But the only thing that really rattled me were social attitudes that seemed antiquated when it came to gender or sexual equality. Let’s just say, I got into a few fights!

ruby onyinyechi amanze, works on paper, detail
ruby onyinyechi amanze, mixed media works on paper, detail. Mariane Ibrahim Gallery, The Armory Show, 2016.

Do the paper works without borders or frames imply different moods than the ones with frames?

ruby: No, it’s just a different presentation. I like that paper does many things.

Could you tell a little about the experience and feedback you received at the Armory Show, you were there with Mariane Ibrahim Gallery during the first week of March? 

ruby: I’m happy to have had the opportunity. It can be a complicated space for an artist to navigate, because it’s a market. There is little conversation about practice or curatorial interests. I had to separate it in my mind from the studio. In making the work, I was very intentional about maintaining my integrity. Time wise, the work was shown at the Armory, but in a different time, it could have been shown anywhere. In other words, showing at the Armory didn’t change anything for me in terms of what I’m interested in exploring in the studio. More than sales, what I’m most excited about is the visibility…the introduction to museums and such.

Where are you heading next, artistic plans for the future?

ruby: I look forward to many things in my career as an artist. But the number one joy in all of this is what happens in the studio. That’s where I’m heading next…

ruby onyinyechi amanze, works on paper
ruby onyinyechi amanze, I sent you to survey the world, and when you did not return, I came, 2016.

…

Artist website: www.rubyamanze.com

 

 

Riitta Ikonen’s artistic day dreaming

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Artist Riitta Ikonen traveled recently to Greenland to discover new artistic work that reflects interaction between humans and their natural environment. Her exhibition, “Glacial Reveries”, is on view at The Chimney Exhibition & Performance venue in Brooklyn until February 7th. Interestingly, the body of work touches directly a topic of glaciers and their fate in the age of the anthropocene. Reveries, then, as a form of day dreaming, means for the artist a human survival strategy during the end of the world scenario. The objects include; a ”wetsuit for the tip of an iceberg, a lifejacket for a brick, eroded stones tied back together with strings, a video hidden in a suit, stairs leading up to cinder block windows”. Few year ago, Riitta Ikonen captivated her audiences with a collaborative photography project, Eyes as Big as Plates, which embeds something remarkable of the elderly human portraits, characterizing people among their surroundings. In this interview, the artist discusses her exhibitions, travels, artistic practice and plans.

Firstindigo&Lifestyle: Could you tell about this ongoing project called ”Eyes as Big as Plates”, how did it start, develop, and so on?

Riitta Ikonen: Eyes as Big as Plates is an ongoing collaborative venture with Karoline Hjorth, a photographer with a journalism and tall-ship sailing background. We met in 2011 on an artist residency after I, in search of a collaborator, typed in: Norway+Grannies+Photographer into an Internet search engine and found Hjorth as the top search result. (She had just published a book on Norwegian grandmothers.) We met for the very first time on the doorstep of a 20 m² flat in the small town of Sandnes, southwest of Norway.

Starting out as a play on characters from Nordic folklore and the personifications of nature in the lore, Karoline and I wanted to find out what kind of connection the Norwegians had with their rocks, fjords and hills. Those hills hadn’t changed since the tales, but the people sure had. We figured that the older the local interviewee/model, the closer we would get to the talking rocks of the tales. Folktales often made complex natural and sociological issues understandable and accessible, with phenomena taking on forms and characteristics that even a mere mortal could have a dialogue with. Perhaps our Eyes as Big as Plates images aimed to discuss the contemporary human in the nature in a similarly approachable language. After interviewing in Sandnes for two weeks, our investigation started shifting more towards imagination and Eyes as Big as Plates has evolved into a search for modern human’s belonging to nature.

Much of the western society is unnecessarily confused when it comes to the ‘usefulness’ of older people. As the project continues to cross borders, it also aims to rediscover a demographic group too often labeled as marginalized and generate new perspectives on who we are and where we belong.

The series is produced in collaboration with retired farmers, fishermen, zoologists, plumbers, opera singers, housewives, artists, academics and ninety year old parachutists. These are people we meet through friends, relatives and newspaper ads, in hardware stores, noodle shops, indoor gardening society meetings, swimming pools, on the city streets etc.

The title Eyes as big as Plates refers to two Scandinavian folktales featuring respectively a goat and a dog with eyes the size of plates.

 

Firstindigo&Lifestyle: It seems that the work was presented in multiple international places. Do you think that there were different receptions of your work that you find as constructive?

RI: I traveled to the Upper Peninsula of Michigan in the US last fall with Eyes as Big as Plates exhibition and was honored to witness the reactions to the photographs from of the large Finnish community. More people of Finnish descent live in the northwest part of the Upper Peninsula than anywhere else in the world outside of Finland. The images resonated with the crowd in a way that transcended borders, time and language. The Nordic spirit was redolent in the minds of the third generation Finns yearning to keep the connection to their heritage alive. Though the exhibition was small, it was one of the most moving and personal of the dozens of lectures and openings I attended last year.

After the opening of the Eyes as Big as Plates exhibition at the National Museum of Greenland, Karoline and I got to listen to Teitur from the Faroe Islands perform live at the Katuaq Center. His song ‘Home’ struck a cord in that moment and I realized there is a ‘home’ in each image for me, perhaps for others too, a universal anchoring point. Greenland was exceptional in many ways and I know that this was the first trip of many more to come.

I wish I could have attended the shows in Korea and Bogota too, but that would have required a body double. I have worked quite a bit with the Norwegians since 2011 and the Norwegian National Museum has been touring an Eyes as Big as Plates exhibition with a workshop for a couple of years now. At the opening of Fotogalleriet in Oslo, Karoline and I also got offered a chance to work on a public art commission by the Arctic Sea at Kirkkoniemi-Kirkenes, where we work on documentary portraits for a brand new hospital until 2017.

Riitta Ikonen: Glacial Reveries, installation view, The Chimney.
Riitta Ikonen: Glacial Reveries, Installation view, The Chimney.
Riitta Ikonen at The Chimney.
Riitta Ikonen: Glacial Reveries, The Chimney.

Firstindigo&Lifestyle: Readers of this blog are interested in the artistic language and process, are there any compelling features that make yours?

RI: The process is most often rooted in collaboration, with the current show in New York at The Chimney being a cheerful exception. The latest works consist mainly of interactive sculptures and video all of which bubbled from last October’s trip to Greenland. The pieces were produced after digesting the experiences of the spectacular land- and seascape near Nuuk, and filmed over the next three months in Finland, the Pacific Northwest and New York. The below piece of writing by Robert Smithson also accompanied me through the making process as a kind of fluid spine.

‘One’s mind and the earth are in a constant state of erosion, mental rivers wear away abstract banks, brain waves undermine cliffs of thought, ideas decompose into stones of unknowing, and conceptual crystallizations break apart into deposits of gritty reason. Vast moving faculties occur in this geological miasma, and they move in the most physical way. This movement seems motionless, yet it crushes the landscape of logic under glacial reveries.’
Robert Smithson, “A Sedimentation of the Mind: Earth Projects”, 1968

Firstindigo&Lifestyle: How do you see that artistic collaborations and working with curators have formed your artistic language? Are you able to pin down, or do you have a story about how a dialogue with the art field has forwarded your career?

RI: I collaborate with people (architects, artists, photographers, sculptors, writers, postal workers etc.) to catalyze the interaction that determines the direction and the work. Unpredictability feeds my practice and keeps the process interesting.

Working with courageous people is necessary for progress.  My solo show ‘Glacial Reveries’ in NY is far wilder than I could have imagined with the fearless support and insight from the curator, Clara Darrason. She encouraged me to follow my initial plan of making the gallery goers walk under water, on the bottom of the ocean with the water level up in the ceiling. We also ended up installing a 25-foot tall iceberg in the show.

Firstindigo&Lifestyle: Are you currently based in New York City, and do you have specific plans for staying and working here?

RI: I am currently on an airplane, and spend a great deal of time in transit. I am based in Kouvola with restless feet. I just met up with Tiina Itkonen in Helsinki who has done a life’s work in Greenland and it is only a matter of time that I will return there! I was hoping to go to Mexico City, where I have works at the Material Art Fair, in March, there are also the RCA Secret exhibitions and sales in London and Dubai, but again- I am restrained by this one body only.

Firstindigo&Lifestyle: Do you consider yourself a Finnish artist, are there any particular ways to designate and identify with your country of origin?

RI: I am a Finnish artist and I feel it pulsates strongly in my work and me. I receive a tremendous amount of support from Finland, whether it is from the brilliant network of Finnish Cultural Institutes around the world, Consulate staff, Cultural foundations, or curators. Most often as a Finn, you are only two steps (at most) away from a fellow creative countryman. This network is incredibly loyal and operates on a penetrable scale- a truly privileged situation however you look at it.

Firstindigo&Lifestyle: As mentioned, your current project and exhibition, Glacial Reveries is on display at The Chimney in Brooklyn. How did you find yourself going to Greenland to do a project there?

RI: It was a lifelong dream to go to Greenland; it was also the last Nordic country I hadn’t worked in. My collaborator Karoline Hjorth and I decided ‘it shall be done’, and we compiled a list of various Greenlandic institutions to reach out to. I called a few numbers and sent some emails. I received no reply. Eventually I got used to the ‘radio silence’, but made a habit of ringing one number or another every week. Most often no one replied, sometimes a receptionist or an answering machine picked up. A year went by stubbornly. We finally made the contact when Åsa Juslin from the Finnish-Norwegian Cultural Institute in Oslo, introduced us to Mats Bjerde and Mette Hein from NAPA (The Nordic Institute in Greenland), who were organizing Nuuk Nordisk Festival in the capital. After Åsa’s email, the ball started rolling.

Firstindigo&Lifestyle: Is a topic of climate change important to your work, and how about the nature as such?

RI: Climate change discussion and open dialogue is vital and art is a good communication tool. I am a bit hesitant to talk about nature as I am coming to think that there is no such thing. There are just us in our surroundings, whatever those may be. The idea of nature might be just as manmade as Shopkins. Either way, to acknowledge that you are not separated from your surroundings can be a way to get the most real picture of the world available to us. (Timothy Morton has written interestingly on that)

Firstindigo&Lifestyle: Is art political to you and if so, how?

RI: ‘The personal is political’ as it was once aptly put.

Firstindigo&Lifestyle: Did you find your artistic medium early on, or did you master and explore various techniques?

RI: After the wish of becoming a conveyor belt worker in a confection factory faded a little, a career as an artist was an obvious second choice. I am still exploring various techniques, and am a happy amateur. As a fish farmer living by the Arctic Sea said it very nicely last year: ‘I am a charlatan and an amateur, a typical Finnmarking who has adapted to this county of contrasts. I love what I do (Latin Amator = lover, amare = to love), unlike a professional who does something not because he loves it but to earn money. There’s a big difference. (Oddbjørn Jerijærvi)

Firstindigo&Lifestyle: Do you have specific plans for the future?

RI: Go work in the desert in the spring, complete a National Park Residency, exhibition at Pielisen Museo in Northern Karelia, continue the Time is a ship that never casts anchor project in Kirkenes, Exhibitions in Germany and the Douro Valley in Portugal, Mail Art- Art Mail Show at the Finnish Postal Museum until the end of February 2016, RCA Secret in London and Dubai, Material Art Fair in Mexico City this month, More Greenland, etc.

…

 Artist website: http://www.riittaikonen.com/

 The Chimney, New York: http://www.thechimneynyc.com/

Ofri Cnaani’s ‘Wrong Tools’

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Artist Ofri Cnaani has created a new photography exhibition consisting of prints and a performance piece at Andrea Meislin Gallery. Photographies on display echo ideas deriving from Xerox art of the 1960s simultaneously connecting with the visual world of the mesmerizing early photography of the 20th century. The exhibition ‘Wrong Tools’ will be on display until October 24, performances taking place on Wednesdays, Fridays and Saturdays. Cnaani’s Blue Print photographs are like intuitive maps constructed of performative ideas that associate with artist’s own body. With both of her performance and photographs, she creates a presence. The works are building up from fragments, and the pieces are put together in a compelling logic. These could be like ruptures built on the Internet surface, where constant image flows create new associations. Here is Ofri’s interview.

Firstindigo&Lifestyle: Your ongoing solo exhibition ‘Wrong Tools’, at the Andrea Meislin gallery speaks a strong esthetic and spatial approach with performance element added to the photography gallery. The performative element also looks back from the blueprints, which display hands in various positions doing tasks, perhaps. Are these prints your hands making the past performances, or projects?

Ofri Cnaani: In the cyanotypes I’m using my own body. I’m using the special qualities of one of the earliest photo techniques to promote some sort of performative photography. In a way, it is very similar to what I do in the performance: I’m creating an image in a limited amount of time that is constructed from found objects, made objects and my own body. Like in the personalized ‘image maps’ I’m creating in the performance, here too, I have a limited control of the final result. The process is always between failure and magic.

In your actual performance that I observed taking place during the opening night at the gallery’s foyer with windows, you encounter audience member on a participatory table setting, where each unique guest sits opposites of you. The scene comes out as very intimate and poetic; we are simultaneously looking at the wall where the reflection of the table surface is displayed with your real-time construction of objects and images on it. And, we are grasping the exchange between you and the other person embodying the performance. Quite interesting, a guest was taking pictures with her phone of the very situation as well. What is taking place in these moments? How do the photographs and the recording of the event resonate in the doing of the performance physically?  

OC: When someone sits with me, I first offer him or her a ‘reading’ of his or her visible future. I used a tarot-like deck that I designed titled ‘future business’. I also ask them to give me one personal item and to choose two items from my collection of small objects. I’m using the message on card they chose and the three objects they selected and gave me as a starting point, to create a live collage-like image. I called it ‘image map’. This image is captured and printed using a special apparatus I build for the show. Lastly I stamped it with a ‘Copy’ stamp and signed it with red ink, handing the Original Copy to my visitor.

Ofri Cnaani’s performance taking place at Andrea Meislin Gallery
During the performance, the process is projected on the wall

As the title ‘Wrong Tools’ already implies so many interesting visual connotations, could you tell more what is the idea or meaning behind it, is it metaphoric with a larger idea and also coming to the performance? Does it resonate solely with ideas, which derive from computing?

OC: My husband, who is great in building things, always says everything is very easy if only one is using the right tools. I realized I’m always using the wrong tools.  My studio is a mess and I’m always using the tools that are wrong for the job. I like to think about my method, using the collections of two and three-dimensional objects in my performance, as ‘endless metabolism’. I’m using the same little objects for different performances, as well as for the cyanotypes and other photos. The same objects travel between many of my projects, always been used in different ways, but never used as they were originally meant to be used.

Ofri Cnaani_OC real and fake-series_Cyanotypes
Ofri Cnaani, OC real and fake-series, Cyanotypes, at Andrea Meislin Gallery

Then, your exhibition at the gallery has these colorful images called ‘future business’, that have a short message embedded in them. It seems that they relate to the performance, do they have an element of time in them as well?

OC: The monoprints are also ‘one of a kind’ and were made in a similar way. I’ve been using cut-outs and flat objects, placed them on paper and rolled them under the press, so each one is a different arrangement, although some of the cut-outs appear more than once. The texts are the same texts on the special edition tarot deck I produced and then use in my performance.

On each card there is a message we get regularly as an online user like ‘Delete All’ ‘Unsubscribe’ or ‘Change Your Profile’. These lines are charged with a very different meaning when we receive them as messages in a one-on-one ‘reading’ session where we all are so vulnerable.

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Ofri Cnaani, Future Business-series, Monotype Prints, 2015

Adi Puterman curated your exhibition for Andrea Meislin Gallery, what do you wish to tell about the curating exchange and process, do you know each others tactics well?

OC: Adi and I worked on the show for over a year and she was very involved with each step: from the concept of having an on-going 6 weeks performance in the gallery, to the selection of the pieces, and communicating my ideas in a written text.

I have noticed that your artist career includes plenty of performance works, such as the ‘Seven Words’ at the Metropolitan Museum. This past work is also very interdisciplinary. Is a question of the different art forms relevant to you in your own art making, or are all forms closely related?

OC: I’m driven by concepts and often by time constraints (like a different space I’m working in or a different collection or archive I’m using). I’m less driven by a specific medium or style.

As an educator of the arts, how do you teach time-based process to your students, do you have guidelines for that?

OC: We see many projects and discuss them, we read texts and using mind-mapping method in order to understand them and connect them to other ideas, texts and art works.

I often think that New York city is such a creative hub with so much international potential gathered in one place. Do you consider that as an international artist based in the city you have a specific role or identity, which is perhaps one here, and another that goes back home in Israel communicating and identifying with the contemporary art scene there?

OC: I’m not sure what do you mean by that but once you leave the place you were born and raised, your identity is always ‘more than one’ and in a constant negotiation.

You have created public artwork, do these works imply a different kind of activism or sensibility that comes with the public space, or are all ideas you are doing basically interrelated? 

OC: My work is context specific. When I work in the public realm I work not only with a specific building and its specific history. The process always involves a community or a group of individuals. The process in those projects is part of the final piece. The final images are never known when I start working on a public piece.

Can you tell a little what are your next steps going to be like?

OC: Next week I’ll be doing a performance that is similar to the one in the gallery at Dallas Aurora. My project is part of ‘Altered States’ exhibition, curated by Julia Kaganskiy. Next month I’m going to Inhotim in Brazil to work with the park employees to create a participatory performance titled ‘Frequently Asked’ that will be then presented in Inhotim on early December.

Ofri Cnaani, Blue Print, 38.5x49.5, on display at Andrea Meislin Gallery
Ofri Cnaani, Blue Print, 38.5×49.5, on display at Andrea Meislin Gallery. Images by Firstindigo&Lifestyle

Visiting Linda Cunningham’s studio

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Last month, New York based artist Linda Cunningham showed me her art studio in the Bronx, where she lives and works.  It is located next to the Bronx Art Space that is fostering arts education and collaborative artistic projects. She told me stories behind the art works, both the sculptural works and the collages that combine drawing and photography.  The studio is in a newly renovated building nestling at the heart of the historic urban Bronx.

Firstindigo&Lifestyle: Linda, you were one of the first artists to come to this location, how was the neighborhood back then, it’s been now a good fifteen years? You did a series of artwork digging into the Bronx history, in which immigration was a theme or a subject. There seem to be real person’s story involved, including documents, such as passports with photos. Could you tell about the project that was exhibited at the Andrew Freedman house in 2012?

LC: When I first moved to this historic landmarked area of the South Bronx, I began photographing the now renovated 19th Century row houses with brownstone trim, the contrasting graffiti walls with the shopping carts of the homeless. The barbed wire and I merged those images with a young Jamaican’s poetry and rubbings from the historic signage telling about Jordan’ Mott’s iron foundry. Later I was invited to create a large installation in No Longer Empty’s exhibition at the Andrew Freedman House, an amazing building designed like a Renaissance Palace, left from the early 20s when the Bronx was blossoming. My installation was constructed like an open book from broken drywall panels and broken old wood frame windows with each panel referring to an era of Bronx history. I along with other artists scavenged in the water soaked ruins, excavating the papers representing early 20th Century history of the Bronx. Including among them was the unusual passport of a resident of the house with two different last names, both apparently Jewish heritage, along with her photos. She had traveled all over Europe 1936, and through the Third Reich and into Switzerland several times, so her story suggests that she might have functioned as part of an underground.

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Bronze at Linda Cunningham’s Bronx studio

Firstindigo&Lifestyle: You recently attended an Art Fair in Harlem, titled FLUX art fair in May 2015; do you have any specific notes in regards to engaging with the community during this festival?    

LC: This was such a lively engaging event during which I enjoyed most interesting conversations about my work. The artwork displayed in this art fair was tough and engaging and in general more accessible than in most other art fairs

Firstindigo&Lifestyle: What captured my attention was your rich methodology of juxtaposing various elements. Your artwork depicted ancient olive trees in Italy that are approximately 800 years old by now. These trees got bacteria from Costa Rica somehow. Did the local community got involved in saving them? 

LC: I don’t know anything about the local community. I just read about it in the Times saying that “they” are trying to contain the epidemic.

Firstindigo&Lifestyle: What you did in your collage was that you implemented the trees together with post-industrial photographic scene of Ruhr in Germany. This area used to be a center for coal, and now it’s gone. Tell, what is the particular message behind this juxtaposition?

LC: Both of these astonishing entities are vulnerable, but these amazing ancient trees will continue being productive and useful for centuries, whereas, the astonishing human designed technology is obsolete in 75 years or less and falls into ruin.

Linda Cunningham_Collage

Firstindigo&Lifestyle: You have worked with sculpture. The bronze in them comes from ’recycled’ old weaponry from the Pennsylvania army base. The story behind the material is so intriguing, and the fact that you wished to turn the weapons into ’vegetal’, so the forms are like plants.  The texture of your sculptures remind of natural formations appearing rough, in some parts they are smooth, as if ironed.  Could you tell a little bit about the process, how did you find them, and how was it to work with the material?

LC: The bronze came from military scrap, which I obtained with some difficulty through a not-for-profit institution where I was teaching for a number of years, Franklin and Marshall College. The scrap bronze, which mostly came from ships, military ships, which are not really weapons. The bronze was smelted and poured into a defined shape in flat, oil-bonded sand molds.  The cooling of the hot bronze creates the rough surfaces as the bronze is poured. I am doing some casting currently.

Firstindigo&Lifestyle: Another element in your sculptures comes from nature. It’s fascinating how some of the rocks you have in the studio are from the ocean. The nature has worked in them so that the huge pressure in the floor has pressed the shells to attach into the stones. One of the rocks is also volcanic, and comes from the Californian coast. Do you have a specific relation to ocean and water in your artistic thinking, as I see the ocean appear in many of your collages?

LC: I have always been drawn to the eternal rhythm and power of the waves, but in my youth I had read Rachel Carson’s “The Sea around Us”, a beautiful factual narrative about the origins of life and the vulnerability of the life giving sea so essential to our survival.  Then super storm Sandy gave my early interest a new focus.

Linda Cunningham_Collage2

Firstindigo&Lifestyle: Also the technique in your collages is interesting, you are drawing and then adding laser photo transfers to paper. Even the surface has layers, cement or metal appears on the surface of the paper adding three-dimensionality. Could you tell more about this appeal? 

LC: I have worked as a sculptor, and even when I am engaged with these large drawings I am drawn to include appropriate resonant texture and sensibility.  Even though photography can be manipulated it is essentially documentation and convincing as reality. The veracity of photography seems essential. My exhibition will be at Odetta Gallery in Bushwick in November 2015, and I will include especially drawings fused with sculptural elements. I was working on creating some new spectacular bronze forms that will be included in the show. I work on torn irregular shapes because reality doesn’t fit neatly inside a rectangle shape, rather it’s discontinuous, fractured etc. I work from places I have been, responding to particular environmental and historical issues raised e.g. from flooding of Venice, and a jungle growth strangling Ancient Cambodian temples. I built the installation with the Hebrew text some years ago after I spent a year in Berlin on a Fulbright scholarship. I did an installation In Kassel for an alternative documentary, and obtained many of the elements from the former East/West border known as the Berlin Wall.

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Linda Cunningham’s collage depicting trees and Ancient Cambodian temples

I have always been drawn to the eternal rhythm and power of the waves, but in my youth I had read Rachel Carson’s “The Sea around Us”, a beautiful factual narrative about the origins of life and the vulnerability of the life giving sea so essential to our survival. Then super storm Sandy gave my early interest a new focus. -Linda Cunningham

 

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Elements from the Berlin Wall at Linda Cunningham’s studio

 

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Artist website: http://www.lindalcunningham.com/

Check also Bronx Art Space

All images: Firstindigo&Lifestyle

Training artists for innovation: Competencies for New Contexts

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photo: Wilma Hurskainen: “He Doesn’t Like Water”, 2012

The book Training artist for innovation: Competencies for new Contexts was published in 2013, (the Theatre Academy of the University of the Arts in Helsinki in Finland). It discusses the topic of artists who are trained for creating innovation in various contexts outside their own artistic practice. The book is  based on a  project, which  gathers together different agents in European countries, who are leading artistic innovation. Kai Lehikoinen and Joost Heinsius are the editors of the book.

The book-project brought together artists, companies, organizations, universities and cities, which have experienced artists working with them.  The idea for the publication came from the challenge that both society and businesses need new solutions and interventions, as they face changes.  Professional artists with artistic interventions can respond to challenges of today, bringing in new questions and ways of thinking. Artists “offer contradiction, as well as confrontation and friction, and they provoke new ideas.”  

Training Artists for Innovation: Competencies for New Contexts argues that artists who take the challenge for artistic interventions need specific training to establish their artistic know-how for new contexts. Artistic competencies can be trained, so to speak. Innovation can occur where artists, with their own practice and methods, contribute to the arts sectors and organizations, to the business world and sectors, where societal policies are made. The book responses to a framework of European context, but the idea can be shifted to other parts of the world.

A very basic question; are artists not innovative by nature, opens up a dialogue between artists and new contexts.  According to editors Heinsius and Lehikoinen, “A gap has risen between the arts and society that needs to be bridged and closed” .

Art can intervene not only on the walls of office spaces, but it can come to peoples’ working life as well.  This statement is inspired by models learned from community art, and by the experience coming from social and health sectors, where art has always been respected as part of human life.  The new innovation comes in the intersection, where businesses and organizations want to raise their creativity,  and understand their creator capacity in conjunction to human-based factors. As the book shows, the arts can add value, for example, by  bringing in emotional and aesthetic dimensions. Artistic interventions can boost creativity and raise energy, bring in new ways of listening, managing, and interacting with others. The book emphasizes that the term artistic intervention is understood as “interdisciplinary professional practice that takes places in business settings and involve professional art-making and creative arts practices”.

What are, then, the issues that interventions can tackle? Topics and issues of course vary, and depend on each context. Artistic interventions can be connected to strategy and concept development, to work processes, to team-building and social interactions, and to public relations, for instance. In the level of cultural policy, the arts have a key role, together with other creative sectors, to add into the diversity of society. In a larger societal (European) policy level, the following seems very relevant and welcomed, when thinking of the creative economy:

“At the national level, the starting points differ from country to country.  In some countries, it is the perceived gap between the arts sector and the rest of society that needs to be acknowledged – that is, the need for the arts to appear as relevant to other sectors in society. In other countries, innovation development welcomes the arts as the perception of shifting from technological innovations to social innovations and creativity.”

Training Artists for Innovation: Competencies for New Contexts  is a book that asks a relevant question of,  how to do it with the arts. It gives several examples of the relevant competencies that artists can embody for their interventions. Gerda Hempel and Lisbeth Rysgaard,  from Danish Artlab, write in their chapter Competencies – in real life, about their own model of working with artists and businesses.  What they suggest is that artists need to manage a variety of specific tasks that relate to understanding the culture of the organization: such as developing and describing the concept, knowing how to sell and negotiate, and,“how to engage and conduct the process, how to extract learning and evaluate, and how to support the implementation within the organization.”

Their chapter reveals that when artists share a common denominator, the artistic base, methods and tools vary in different art forms. For example, a violinist in the opera house has a different approach than an avant-garde performer who works in an experimental performance space.

Artlab founders and consultants Gerda Hempel and Lisbeth Rysgaard bring in the artist perspective of working with businesses. They open their Artlab Entrepreneurial Model (that is based on their 12-year experience in the field) and reflect this in relation to real artists, who they interviewed. This shows how artistic interventions function from the artists point of view. The model itself is like a metaphoric artistic house, which includes 4 interactive work spaces and a storage. Its aim has been to help professional artist who want to go entrepreneurial and find new job opportunities, or look for new management skills for their career. The house allegory with 4 spaces  includes: The Shop/Back office, The Workshop/Development, The Scene/Artistic intervention, The Shop/Front office, and Storage/place for new ideas. Artlab’s  model functions as a visual guideline to see  parallel tracks. It offers artists a tool to plan and prioritize their work.

Training Artists for Innovation: Competencies for New Contexts has a message for everybody working in creative industries. It offers chapters with real examples, and discusses  how real artists have solved their tasks, approached different organizations and worked with businesses. The book is a guideline to discussing competencies that artists need in order to work with various sectors.  It clearly opens a discussion, which goes to two directions. 1. Artists need more than ‘just’ their own artistic skills and competencies to go outside their craft. 2. Yet, artist have special skills and innovative qualities that (only) come from their artistic work and expertise.  To bring these two to meet; some common ways can be created.

In summary, artists need special qualities to work with organizations and companies; this includes knowledge of those cultures. They should have pedagogic competencies to set up methods and approaches for intervention. Artists also benefit from research competencies to find information, and to critically view the information and other collected material. What artists also should learn about, are skills in project management and marketing. 

(The book Training Artists for Innovation: Competencies for New Contexts is licensed under Creative Commons as BY/NC/ND, and it can be downloaded from the page/click the book’s link)

VOLTA edition #2 Derrick Velasquez

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Artist Derrick Velasquez was presented at VOLTA by Philadelphia-based pentimenti Gallery. His marine vinyl and plywood wall pieces are sculptures, if you like, and at the same time they possess some qualities that are decorative, or design. Yet, this is not entirely summing up what he is doing with the ingredients. The art made by Derrick Velasquez is very physical. The layers of meaning, which come to your mind begins with words, like arts and crafts, ancient, poetics, mechanics, physics, installation, historical play with objects, and the body-art. He says in VOLTA NY 2013 introduction to his work, that his attempt is to ‘construct a language of structure that questions our physical and psychological interactions with industrially manufactured materials that exits in the spaces we inhabit’. Velasquez works with plywood to investigate the gravity or tension on the wood together with the materials of marine vinyl, acrylic and hardwoods. He adds into these the human body dimension. When the body is part of the picture; questions, how the wood can be stretched to measure our physicality, and what is a relationship between the space, the materials used and the body, are relevant. All these questions are also important in design. While his art looks very organic and natural, it also comprises qualities of forced, structured and compressed; so the tension is created.

The Untitled (draped body) wall pieces series has come out from a meditation process, in which Velasquez discovered  his direct connection and interaction with the large sheets of vinyl. In order to cut the sheets of material, he carried the textile material over his own body that became a table and cutting surface for the work. He tried to think and imagine the visuality of the vinyl draping over his body, when he could not see what it would actually look like from the outside. Overall, his intention has been to take away the ‘consumer use’  of the materials, and let his body create the form for the objects. So this way, the image and spatialization of the form is a continuation of his body, it is an embodiment of the craft, and the weight of his own body, which has shaped and layered the form.

For his series Untitled, which was on display at VOLTA, Delasquez did meticulous hand cutting of individual strips of marine vinyl placing and accumulating them onto precut wooden forms.

Derrick Velasquez, Untitled 63, 36 x 24 x 1.5 inches, Marine vinyl, oak, 2013. Courtesy of Pentimenti Gallery, Philadelphia, PA.

As a bookbinder the vinyl is a material I used as covers for hand bound soft cover journals. The form and process of the formalized wall pieces came from an every day practice of precutting enclosure straps for the journals and placing them on a screw on the wall. As these began to accumulate, I realized I was denying the intended surface of the vinyl and exposing the innards of the synthetic fabric. This creates a new flat surface that lacks the continuity of a sheet of fabric and becomes a construction of sophisticated and subtle color harmonies by way of hundreds of hand cut and layered strips.  As number of the vinyl strips grows, the relationship of the visual structure slowly shifts – the vinyl no longer conforms to the shape of the wood form, but instead rounds out to a gentle curve.

 

Untitled (draped structure 2) is a piece inspired by images I’ve taken while driving over bridges. By taking the language of structure that exists within a bridge, I’m referencing the mechanical aspects engineering and physics of a form that has a different set of parameters than the human body.  By draping the vinyl over this invented structure, I aim for an indirect narrative and association between edifice and drapery.  Ideas of gravity, force, tension and repose come to mind as one might observe and think about the relationship between buildings or bridges and the colors placed on them. (Derrick Velasquez, 2013)

 

(See also his installation art (Knitting movie) on his website here. Derrick Velasquez was born in Lodi, California, He currently lives in Denver, Colorado. He received his MA of Fine Arts  from The Ohio State University in 2008, and his BA of Studio Arts and Art History degrees from University of California, Santa Barbara in 2004.)