Artist Pamela Casper’s Earthscapes: Emerging to a Brighter World, on view now at Reeves-Reed Arboretum in Summit, NJ, honors the power that nature has to inspire, to awe, and to overwhelm. Casper is able to capture, ”a world in a grain of sand and a heaven in a wild flower,” in the words of Romantic poet William Blake. In many ways Casper’s solo show, a mini-retrospective for the artist, brilliantly captures that wondrous sense of natural awe redolent of the Romantic movement, with a nuanced portrayal of natural phenomenon at turns imaginative and insightful. Casper’s works on view span mediums ranging from works on paper to mixed media and sculpture, offering visitors a varied means of engaging with the environment.
Works such as ”Roots and Insects,” ”Gothic Underground,” and ”Underground Glow” allow guests to burrow down into the impression the artist has created of roots expanding deep underground. Rich jewel tones and minuscule, detailed lines trace the most powerful and life-sustaining part of a tree: its root system. Casper’s paintings evoke what they don’t show, giving the impression of destiny with lush, painterly brushstrokes hinting at the rich ecosystem lying just out of view of the human eye.
In addition to the artist’s Tornado series (see cover photo) which brings to life the transformative power of nature and calls into question our tenuous relationship as stewards of the environment, the artist also works with reclaimed materials. ”Abandoned Nest” re-imagines barbed wire as a bird’s nest, painting a bleak future for a world in which scant natural materials are available for creatures to depend on. The sharp angles jutting across one another are juxtaposed with a bird’s feather: a reminder of what’s left for us to lose unless we begin reimagining ways to provide for a sustainable environmental future.
Pamela Casper’s ”Earthscapes: Emerging to a Brighter World” is on view at the Reeves-Reed Arboretum’s Wisner House in Summit, NJ, until October 31st, 2021. Check the Arboretum’s website for hours and special events before attending: https://www.reeves-reedarboretum.org/visit/ .
Interview with Show + Telephone’s Madeline Walker, Edited by Audra Lambert
Madeline Walker. Can you share with us – what about the theme of the open call caught your attention in relation to your practice as an artist?
Bianca Abdi-Boragi. Since I’ve been producing ephemeral works with earth, the title (“Earthly Delights”) caught my attention. My practice has been influenced by Land Art and Arte Povera, both. I’ve been making pieces with high grass, petals, feathers, lost bread in works like Traveling Plant, Epiphany, Drift, The Heel of the Loaf to formally engage with ideas of trajectory, subsistence and fulfillment. My art is also inspired a lot from my family’s history of migration from Algeria to France to flee the war and personal experiences, conveyed in a form that addresses a collective experience, addressing timeless questions such as war, displacement, freedom, gender roles. Being uprooted from a country or a culture is a major theme in my work. I want to grasp life with the beauty, fragility and nostalgia of ephemera.
MW. Conflict and disparity between classes is something you mention in your statement about The Heel of the Loaf which feels especially poignant during the pandemic. When you mentioned fragile structures I can’t help but think about your experience working with bread and bread crumbs, walking in the space and generally the sensory experience. But also the proportions of the center point to the rest. Can you talk more about what it represents to you?
BAB. For my solo show last Fall, The Heel of the Loaf, I collected discarded bread from shops and bakeries here in Bushwick and Ridgewood. I collect materials outside the studio and then re-imagine and revisit places and residual materials from my surroundings, responding to the moment I find myself in–personal, local, or national. In this piece, the six sided dice had only one “6” side, face down, and five sides of “1”; this large scale sculptural installation was a meditation on fragile structures, sacred subsistence, and capitalism, where the odds of winning are against a majority of people.
Most of my works reflect on class, labor, subsistence, and the consequences of post colonial economic structures. My pieces obey the logic dictated by their concept, material, and process. In the making of a piece, I use all the forms that the material evolves. By the end, there is no waste, because the protocol is endless. I want to turn chaos into a glimpse of the infinite.
The Heel of the Loaf was all about how you felt walking into it, sticking your head inside it and being surprised by it. I’d hoped to make the viewer question their own body and presence in front of the work. It was a multi-sensory experience, a manifestation that connected directly to the viewer’s senses. The audience performed simply by walking into the gallery stepping on old loaves covering the floor into crumbs so thin it looked like sand. Through sculptural installation I hope to appeal to the viewer’s senses to trigger a thoughtful and meditative dialogue.
MW. Can you tell us more about the genesis of The Heel of the Loaf?
BAB. For this piece, I was focused on the revelation of the fragile economic structures in the US which were crumbling at the start of the pandemic. I wanted visitors to be taken off guard: to be directly impacted by the piece. I want my work to be physical at some level, or a disruption of reality – to disrupt some type of normalcy, conventions, boundaries or challenge the rules, questioning structures or addressing existential questions, to be thought-provoking, a little bit strange, just on the other side.
MW. What do you have ongoing and/or upcoming that you can share with us?
BAB. I’m excited to show a new painting in August 2021 for the group exhibition Staying Inn at Heaven Gallery in Chicago. Currently I’m in the midst of making two chairs to complete my new sculpture Hybrid Buffet, which was showcased last June at the Flux Factory for Din Din, an art food outdoor series of events. Hybrid Buffet is a table mosaic made of discarded bread fully coated with matte varnish inspired from the front of Ketchaoua mosque in Algiers, which was destroyed turned into a church under the French then turned into a mosque, addressing labor but also the hybridization of culture, architectonic narratives, mechanism of assimilation, colonization, war but most importantly pacifism, and the act of breaking bread together.
I’m also preparing an experimental film for an upcoming art fair, and working on the pre-production of my second solo show which will be based in sculpture and video art. I am also working on the production of a new piece involving two fabric sculptures and a documentary video about the French flea market. I have a long list of artworks I need to produce, which will keep me busy for many years if not a lifetime. I’m overwhelmed but it’s only good stress so I’m happy!
Finally, I’m also an independent art writer/curator and founder of Gallery Perchée, an online art gallery specializing in leading emerging artists. I have a few upcoming curatorial projects for 2021-2022 in NY and Chicago that I’m very excited about with wonderful artists. Architecture of Elsewhere now on view virtually at Gallery Perchée during the Summer of 2021. My other upcoming show Vector will open in Sept 2022 at Heaven Gallery Chicago, amidst other NY projects cooking for 2021 and 2022.
“You cut a hole in the building and people can look inside and see the way other people really lived… it’s making space without building it.” – Gordon Matta-Clark
Industrial materials and a delightful array of dimensions provide new angles on urbanity in “Chris Esposito:Wall Sandwich,” on view now at Amos Eno Gallery at 56 Bogart St through Sunday, July 18th.
Esposito is a Queens-based artist. A born and bred New Yorker, the artist’s familiarity with the city permeates every aspect of the exhibition. Construction is one constant traversing the city’s streets, and familiar sights such as dangling shoes and lath wood, metal and cement confront urban residents at every twist and turn of the city’s winding streets. Eroding painted signage from days gone by are visible on the sides of buildings from overpasses and aboveground subway lines throughout the city, revealing varying degrees of erasure as they play out across the skyline. Fences separating properties across the city’s five boroughs range from elaborate, pointed arches to brushed chrome. All of these experiences and more infuse “Chris Esposito: Wall Sandwich” with a potent representation of how residents and visitors interact with spaces surrounding them in urban landscapes.
Works on view present a study in contrasts, with the artist embracing industrial materials and artistic processes in equal measure, forming a strange yet powerful combination. Works included in this exhibition, such as “Split/Connect” (below image, work on right,) incorporate oil, tar and steel rods, while artistic techniques like painting, collage and assemblage are utilized throughout. Lath wood and bricks form the structure supporting the artist’s large-scale work, “Wall Sandwich,”: the exhibit’s namesake. Notions of the simulacrum pervade the show as well, with paintings of wood boards flanking actual wood structures, such as with “…Only inches away…,” and “Exterior Clapboards: Detroit”, questioning how the structures which we perceive around us in cities can both reveal and occlude vibrant histories.
In revealing the interiors of structures and their intrinsic relationship to exterior walls, Esposito notes that he, “concentrates on the interior and exterior of the walls, the space in between, the endless layers of palimpsest both polished and tarnished. It is a study of the soul of New York City.” Repeating motifs jostle for attention with surprising elements, such as a metal tag hanging off a string from the central board of “Leftovers.” City residents and guests strolling through New York will notice hanging objects proliferate throughout the city, whether it’s a hanging pair of shoes on power lines or a misplaced mitten hanging off a wrought-iron fence on a snowy day. The city gives as it takes away: construction materials throughout the exhibition also allude to real estate development and a city in constant cycles of demolishing and creating new buildings throughout the five boroughs. Visitors can approach these themes embedded within the exhibition in view of their own relationship to these different aspects of city life, finding correlations to their own journeys across, below, and around structures in New York City.
The underlying landscape that supports the city’s infrastructure takes center stage in “Chris Esposito: Wall Sandwich.” Thanks to the artist’s clever compositions and keen insights, visitors are able pore over contrasting textures and surfaces presented at a range of scales and form connections between the works on view and the city’s many tangible layers of architectural histories.
Poet Rainer Maria Rilke once observed, “the purpose of life is to be defeated by greater and greater things.” The fragile yet tenacious victory of In Longing, on view now through July 14 at CUE Art Foundation, articulates the spectacular beauty of thwarted connections. Spanning new media, installation, mixed media and sculpture, works on view by artists Alison Chen, SHAWNÉ MICHAELAIN HOLLOWAY, Raymond Pinto, Marie Ségolène and Xirin probe us to reconsider the ways in which we long and the means by which longing manifests. Curated by Anna Cahn, with support from CUE mentor Legacy Russell, In Longing foregrounds the need for a resolution which is implicitly suggested in the concept of “longing.”
Artists on view create intersectional dialogue around privilege, desire and visibility. As noted in Cahn’s catalog essay, “A central question of the exhibition asks: how is desire affected by the oppressive systems of patriarchy and white supremacy?” Participating artists also present performance around the theme of the exhibition. In Longing has been activated over the course of the exhibition by performances from Xirin and Sebastian Chacon and the debut of a performance film from Marie Ségolène. An upcoming performance entitled “what is left, if i am earth” by artist Raymond Pinto and collaborator Fana Fraser will take place on Wednesday, July 14 at 2 PM, followed by a closing reception with the curator the same day from 5 PM.
One consistent aspect of the exhibition is a denial of the male gaze as the default position of longing. Visitors enter the space to immediately encounter Marie Ségolène’s “Rouge Gorge” video and multi-media installation. The multi-sensory elements present within Ségolène’s work centers a self-longing: a passionate wish to situate one’s own sense of longing and desire within an environment alternately fertile and hostile. Loaded with an introspective and inherently queer sense of self-realization, the artist alludes to the fact that yearnings are self-directed, and can be evoked by a range of sensations which are experienced in unique ways by different bodies. “Rouge Gorge” also references visual and audible repetition, a clever yet potent means of referencing sensual ritual and return. Reading from her poetry in a range of scenes – near water, in the midst of the forest, and other natural settings – Ségolène deftly integrates action and expression.
Alison Chen and Xirin provide distinct reflections on how longing can be documented or expressed. Chen’s “In and Out” reveals the relative peaks and valleys of a committed relationship, laying bare the honest analytics of emotion and tracking how that looks in objective terms. Chen’s video, “For One Night Only,” authentically, intimately and sometimes humorously lays bare how living together with a romantic partner can manifest in small gestures and interrelated movements. In Xirin’s video, “Hope Eats the Soul,” the artist and her partner re-enact scenes from Fassbinder’s “Ali: Fear Eats the Soul” (1974) in a lofty measure of how intimacy and distance can collapse into one another. With no dialogue, and scored with atmospheric music, the camera pans alternately between the duo while longing glances connect or concentrate on the middle distance between two certain points, seeking resolution. Xirin’s work traces her “undocumented emotional realms”(1) to evince a longing to be fully seen.
Raymond Pinto’s installation “what is left, if i am earth” presents geodes – crystal aggregates that appear on the outside as spherical rocks. This deceptive appearance challenges us to consider how much of what we know is taken for granted. Pinto presents a “Black queer ecology of motion”(2): asking where, and how, restraint and impulse intersect and what the implications of these actions are. The installation seemingly vacillates between presence and absence, embedded with investigations about emotion and longing and about the space allocated for Black queer experiences. Environments and power dynamics infuse SHAWNÉ MICHAELAIN HOLLOWAY’s prescient sculpture “REQUEST–>LURE–>RESPONSE–>REWARD(?) OR A COVERING FOR THE CAGE.” The artist explores a theme she calls “choreographic viewership”(3) in dialogue with BDSM desire while simultaneously questioning which bodies are included or “longed” for.
Visitors to the exhibition can view the interior of the space where Xirin, Chen, HOLLOWAY and Pinto’s works are situated from a tête-à-tête chair rounded chair able to seat two guests alongside one another, which is part of Xirin’s installation for “Hope Eats the Soul”. A letter written by the artist floats alongside one of two mixed media works Xirin presents in the space, incorporating allusions to the corporeal: scenes from the artist’s past performances are depicted in acrylic, lipstick, egg and coffee applied across canvas, accentuating the flattened presence of the artist’s two-channel video nearby. In tracing the interaction of Chen and Xirin’s video and installation work with Raymond Pinto’s “what is left, if i am earth” and HOLLOWAY’s “REQUEST–>LURE–>RESPONSE–>REWARD(?) OR A COVERING FOR THE CAGE”, a curatorial vision emerges which intertwines attraction and distance, distraction and intimacy. Binaries fold into themselves, merging instead into interrogations that push us to question how we never realized we were this close to begin with, and why it’s impossible to be closer than we even knew we were. -AL
(1) See Anna Cahn’s catalog essay, “In Longing.”(2) and (3): Ibid.
On view through July 4th at Peninsula Art Space in Red Hook, Brooklyn,TORQUE brings a heightened attention to surface detail and the painterly gesture. The show’s title notes of torque that it “is the driving force for all human movement,” and paintings on view form a dialogue around how transitions and movement are expressed in painting. Works on view are by artists Craig Taylor, Georgia Elrod, Graham Durward and Allison Evans. From the painterly figurative stylings of Graham Durward to the jagged aggregations of brushstrokes by Craig Taylor, TORQUE offers a survey of painting that intimates and suggests more than it ultimately reveals.
Durward’s compositions contrast figures against seemingly idyllic backdrops, creating ambiguous figures inhabiting unsettling scenes. Off into the distance, a rising plume of smoke draws attention away from this close cadre of figures cavorting together, inserting another narrative into the scene that feels far removed from the vacation vista presented at first glance.
The scale of works on view also makes a strong impact, with works such as Georgia Elrod’s “Midnight Oils” overwhelming the viewer and beckoning them forward seemingly into a new dimension as they enter the space. The human figure is present throughout the exhibition, but these subjects are seemingly erased from view and/or presented in fragments. Works by Allison Evans form a cheeky commentary by filtering subversive figurative elements through the lens of historical elements such as Grecian urns, painting these in flat yet expressive brushstrokes. Craig Taylor’s works indicates his deft brushwork as a painter, allowing the surface of his paintings to seemingly expand outward through implied movement away from the picture plane.
TORQUE at Peninsula Art Space is open from 12-7 pm on Saturdays and Sundays, and is located at 352 Van Brunt Street at Sullivan Street. Check out their website for more details on their exhibits: http://www.peninsulaartspace.com/ .
The performativity of gender and sex positive attitudes emerge at the forefront of Naomi Elena Ramirez’ exhibition-as-book project, Beaver.
Artist Naomi Elena Ramirez leads the charge in Feminist art project “BEAVER”: a book that presents a Feminist exhibition from a range of viewpoints. The publication, which is available via the project’s website, charts a range of perspectives from artists including Keren Moscovitch, Carol-Anne McFarlane, Damali Abrams, Leslie Tucker, Katrina Majkut, Julia Kim Smith, mothertongues, Mirabelle Jones and Ramirez herself, among others. This iteration of “BEAVER” centers intersectional Feminist perspectives on pornography, sexuality and self-expression. Ramirez spent significant time on cultivating and presenting a range of artistic projects intersecting with this powerful theme.
“BEAVER” began as an exhibition taking place in 2014 at the Center for Performance Research in Brooklyn, and three subsequent exhibitions and this inaugural publication interrogate media representations of the female body and sexuality. Artists are asked to respond to the following questions put forth by Ramirez, “How do phenomena like “slut-shaming” and the threat of sexual violence delineate, thwart, or promote female sexual self-expression? What are the different ways that racial and sexual identities are culturally inscribed on the female body?” Participating artist Leslie Tucker reflects, ” Naomi’s BEAVER Project examines the constant messaging around women as a class, which pervades my work as well; how women are treated in the media in terms of sexuality, violence, or just micro-aggressions daily in society. I think it’s critical to ascertain not only how these messages are circulated and perpetuated in Western society and media, but also how they are received by individuals – of all backgrounds.” These and other similar responses to Ramirez’ questions provide a pivotal lens by which artists visually explore how women reclaim agency and power with regard to their identity, sexuality and representation in the public eye.
Something for everyone greets readers of the publication, as representational painting, photography, performance art, sculpture and a range of other artistic practices form the fertile ground through which artists explore themes related to the “BEAVER” prompt. By subverting patriarchal expectations and mining rich expressions of feminist presentations, artists create powerful responses to society’s sexualized expectations for female-identifying artists.
Editor and artist Naomi Elena Ramirez (b. Hermosillo, Mexico) is a mexican-american multidisciplinary conceptual artist and curator whose work encompasses visual art, video art, and contemporary dance, and the process by which the different mediums can inform each other. Naomi has an MFA in Visual Art from Vermont College of Fine Arts and a BA in Dramatic Art/Dance from the University of California at Berkeley. Her work has been exhibited and presented by A.I.R. Gallery, the Institute of (Im)Possible Subjects, Movement Research at the Judson Church, DoublePlus at Gibney Dance, The Bronx Latin American Art Biennial, and many others in the US and abroad. The artist lives and works in Brooklyn, NY.
ANTE mag. We are excited to interview you, Emily, and wanted to start by learning more about your ethos. Can you tell us more about how interconnectedness forms a foundation of your approach in your practice?
Emily Weiskopf. I’m excited to be here with ANTE mag! There is a mystical or spiritual process involved in making my work that seeks to fuse or reunite the divine past, present and future together simultaneously because in many ways that is how everything is occurring. With the growing disconnect between humanity and the natural world there is a sense, more and more that I am being guided to create what hopes to evoke a collective, nurturing consciousness to the cause and effect of life. 2020 illustrated this to us in many ways, as has other times in history.
In October of 2019, I was at the White Sands creating a sand work/ritual and I had a premonition that something catastrophic was coming for humanity, as unbelievable, crazy as it may sound. I have always had a 3rd eye sense and after a near fatal car crash it seemed to increase. As my physical body became limited other senses became amplified. For that reason I think a lot about what is not physical to the eye, that all sentient life, is speaking to us, teaching us and each other about how it works together. This doesn’t mean the grass is talking… but it is alive, has energy and the reason we love to stand barefoot in it. You automatically feel more connected, more aware, it’s essential life. Historically we have always read the stars and Cosmic strings, a scientific term with no complete proof, yet, speaks to this on universal level, a bit like alchemy in a way. Part of my practice also involves Buddhism and it is said that our thoughts are carried in the air, nothing is ever lost in the universe. I truly believe that. My work may stem from my personal narrative and lens of perspective, but it is not meant for me.
ANTE mag. You work at a range of scales and with a diverse set of materials. Can you tell us more about your recent body of work, ‘The Fragility of Tranquility’?
EW. “The Fragility of Tranquility” was named by artist and gallery director Michael David. He organized a 2-person show between myself and artist Tim Casey which came right at the end of 2020. This consisted of Translations and Responses, a series of small paintings on vellum, which reflect an intimate, yet transparently tender and disconnected dialog of hypersensitivity between self and place, allowing only the essential. Most of these drawings are created on both sides as dual dialog with eyes open and closed as were a few works in porcelain in response to the destruction, deterioration, ongoing forest fires, and riots in 2020. Seeing, feeling, listening to transcend light as a way to balance and clear the energy. I was also recovering from 4 months of spine treatments and working to regain my strength to create a new public sculpture. These were a bridge to slowly reconnect and integrate my energy, self and ideas in alignment with the current world.
ANTE mag. Many artists working during this time have responded in some way to the immeasurable impact of the Covid-19 pandemic. Can you tell us more about the genesis and realization of your project, “The Clearing” (12/2020)?
EW.The Clearing, as a ritual, was created to emanate a collective, vibrational universal healing through clearing, releasing, and grounding the emotional wounds and trauma of 2020. I felt this to be one of the closest ways I could give to others and to the Earth as gently as possible with no impact or waste, my compassion and care, while demonstrating in action a process of reflection and connection before letting the wind take it away.
In releasing, there is a process of accepting, understanding and allowing the importance of emptiness, space. Following the creation, I walked into the center of a mandala to begin and conclude the ritual with a Clearing Prayer. My ongoing studies and practice with Lama Losang, of the Chenrezig Tibetan Buddhist Center (Philadelphia, PA) also took part in the symbology of this mandala. When I had my premonition in October at the White Sands I also realized the vitalness of the lesson of the sand, again, the interconnection came. My spinal cord was injured during a procedure the previous summer and I didn’t know how/if I could continue my practice but that day it began again. I wanted to learn the sacred Buddhist tradition of sand painting with its dismantling to participate in greater actions to uplift and bring caring not only to every person who sees it, but also to bless the environment and all sentient life in the release of suffering. I flew to Philadelphia in Feb 2020 ask the Venerable Lama Losang to train me, and I am humbled he said yes. He is one of the Mandala Masters who created the first public sand mandala in the US in 1988.
ANTE mag. Incredible! So let’s also address your project “Unparallel Way” manifested in 2013 in partnership with Old Stone House in Brooklyn and the NYC Dept of Transportation. What was it like working in large-scale installation, and how did this impact your practice?
EW. It was the best- it was. First off, I loved working with the Old Stone House- Kim Maier, Katherine Gressel who found me and curated me, and Emily Colassaco of the NYC Dept of Transportation. They are fantastic and I hope I get to work with them all again. I really enjoyed making a site-specific work, remark on present times, getting to know the Park Slope Civic Board – the community and being able to positively impact the public space, the city I called home for 16 -17 years. It’s a big undertaking to be handling all the details that go into doing public work especially when it’s just you, low-budget, with a steep learning curve but it’s a tremendous learning opportunity which shifts your entire perspective. I became aware of the impact Public Art can make. It was put in front of park and a parent came up to me and said you brighten and made this entire area safer, especially for the kids. As a teacher, this meant a lot and I have also became a volunteer with Civic & Community Boards.
ANTE mag. You create artwork in a range of disciplines – installation, works on paper, sculpture and even video. How do you approach working across multiple mediums? How does the concept for an artwork impact the medium in which you work?
EW. Yes I do, and for that reason it can get a bit crazy in the studio. In thinking about interconnectedness, I feel the diversity of my materials match the metaphor, the experience, and the message I hope to transcend. The world is covered in sand, an ocean, rocks, an ozone, the sky, the man-made industry and yet it all eventually connects and affects one another. I apply this concept to my practice. I’m naturally enticed by materiality, the chemistry, the physicality and use transparency often to show the inner workings. I have been using raw oxides in my work for years, have a 30 year rock collection and grew up watching a lot of mechanics and engineers. Additionally, because I have ongoing medical procedures due to a progressive degenerative disease I’ve managed since I was an adolescent, my practice demands shifts to my process which match my temporal and restricted physicality. Yet, the pencil is at my core and I’d lose track without my sketchbook! as I tend to do a lot of research and studies.Over the past year I have begun working with salvaged glass (“Liberty Bell”) which I am quite intrigued by even in these early stages and timed “drawings” (“Emerging”). These drawings document the regenerative, internal struggle and growth of a tree hit by lighting with the physicality of my own hands to speak on resilience and touch/engagement. I’m currently losing mobility, and grip in my right hand – my drawing hand and I’m working to keep it agile, implementing my left hand more to investigate interconnections between mind and body experiences and to stay in touch in every sense of the word. My physical limitations and unexpected rest bits can be very frustrating-challenging at times but they continuously guide me to new potentials in creation and ways of seeing that I may have never discovered otherwise. I am thankful for that. It keeps things stirring in and out of the studio for me and in many ways helps me to feel limitless.
ANTE mag. What is coming up for you on the horizon that we should be on the lookout for?
EW. Beginning this month (May 2021) I will begin my first Permanent Public Art work commissioned by the City of Austin Art in Public Places (AIPP) program of the Cultural Arts Division, Economic Development Department in collaboration with the Emergency Medical Services and Fire Departments. I will embed with the community, crews and their stations to research, interview and observe before beginning the work. The aim is to create a work which is emblematic in reflecting their experiences and in generating safer communities through prevention, preparedness, and effective emergency response. I’ve been invited to do a public artwork with the Jersey City waterfront Exchange Alliance hopefully to come to fruition this summer, as timing has been a bit hijacked since Covid-19. Lastly, I will be joining Lama Losang, at last in the creation of a large public sand mandala in Philadelphia which has been postponed since last April due to Covid-19. All good things!
A visitor can be forgiven for entering Yi Gallery’s current exhibition, “Mitosis“, and wondering whether they’ve been shrunken down into an aesthetically pleasing science lab.
All that’s missing is the petri dish.
This solo show of works by Leah Harper indicates the scope and breadth of the artist’s multi-disciplinary practice in dialogue with the lived environment, particularly with regards to marine life.
The abstracted “creatures” that the artist presents assume migratory patterns, frozen in a form of arrested motion. By foregrounding the objects themselves, one is compelled to think to a larger scale – that of the ocean itself. With light-filled sculptures installed in clusters on the floor of the gallery, minute azure-hued clusters of works arranged in meticulous sculptural groupings on one consolidated wall, and one-dimensional representations of these same minuscule “creatures” framed throughout the gallery space, guests are reminded to consider the scale of environments they encounter.
Another consideration is the fragility embodied by the range of “creatures” the artist has created for the exhibition. Whether embracing glazed porcelain, mixed media with resin or working on paper, the works Harper presents in “Mitosis” exude an element of precarity and preciousness. The flattened lines and graceful curves of Harper’s forms give visitors a tabula rasa from which to frame personal reflections on their own encounters with the ocean and its fragile ecosystems, such as coral reefs. These careful and clean linear stylings present in “Mitosis” are no accident, and their careful precision offer an homage to the delicate and overwhelming beauty found in nature’s presence.
Originally from the Gulf Coast of Florida and currently based in close proximity to the Atlantic in New York City, Harper’s work provides a delicately beautiful elegy to the oceanic environments we are ever compelled to preserve, or risk losing forever. Drawing from a rich background spanning fine art, architecture and graphic design, Harper’s perceptive work echoes Heidegger’s concept of the essence of artwork as a means of access to better explore truth and culture. “Mitosis” serves as a springboard to better frame the truth of our lived environments, our responsibilities to them and our ability to perceive the beauty of the living creatures around us in their purest form.
Artist Candace Jensen traces illuminated pathways through history, fine art, ecologies and landscapes. She is a self-proclaimed “interdisciplinary visual artist, writer, printmaker, calligrapher, activist and woods witch,” invested in a practice rooted in precepts of Deep Ecology. A Vermont-based artist, Jensen’s practice assimilates a rich range of inspirations, from illuminated manuscripts to poetry, environmental impact, mythology and fictions. As part of this conversation with the artist, a top prize winner of the “Alchemy” open call curated by Writer, Independent Curator and Wedge Studio Owner/Founder Douglas Turner, Jensen shares her reading list in tandem with her current body of work, its concepts and evolution, and a look forward at what’s to come: https://www.candacejensen.com/
(lead image: “Deconstructed Yantra: Gold, Red, White” by Candace Jensen; gold leaf, gouache, inkjet ink on plastic transfer and bronze leaf on paper 11” x 15” (2017))
ANTE mag. Thanks for chatting with us, Candace! Can you tell us what you’re currently reading (as a point of entry into your practice)?
Candace Jensen. Wow that is such a question. My TBR (to be read*-Ed.) stacks are plentiful, and I am a serial polytome reader. I should just send you a bunch of snappy pics of my coffee table, bedside table, the side of the couch the dog doesn’t sleep on… I just finished Mark Leidner’s Returning the Sword to the Stone, and Maria Dahvana Headley’s new translation of Beowulf in the wee hours of the night. They were both wry, and smart and very funny. Cindy Arrieu-King’s new book, The In Betweens, is a slim volume which has nonetheless lasted me a few weeks— she has such a wonderfully deliberate pace to her accounts, which all hover near the anecdotal but stay rooted in the contemplative, or vice-versa. So I’ve been sitting with that one for a while, chewing. I’ve begun reading Kate Soper’s Post-Growth Living: For An Alternate Hedonism, and Nedra Tawwab’s Set Boundaries, Find Peace, for theory and enrichment, but haven’t gotten far enough yet to report much on either (it’s looking good). My guilty-but-not-ashamed pleasure right now is the webcomic Lore Olympus by Rachel Smythe, which I anticipate every Saturday evening… I’ll stop there.
ANTE mag.We were hoping you could expand on the question: what has the artist to offer? Way-finding, escapism, mythical creation, distraction, contemplation, or exploration?
CJ. I am very attracted to this word group, and three triangulate to my work quite well: Way-finding, Mythical Creation, Contemplation. In a piece like Parzival, these are both my process and the verve of the finished piece. It was a messy throwaway scrap drawing, and it moved with me numerous times over a few years before it suddenly materialized into exactly what I needed as a vehicle for the grail myth, which I only recently became enamored with after reading more about it through Martin Shaw’s work.
I’m channeling myths, and echoing myths, and in this way I am hoping to create myths. But mythology by and large seems to me to be a “everything old is new again” kind of thing. They will always be read by the voice of the Zeitgeist, and can be appropriated and disrespected or exalted and magnified by our interest and lack therof.
I think about the meaning of the work a lot in terms of the materials I use: of course, paper is incredibly precious, but we culturally treat it as if it were worthless. The environmental cost of paper-making and the sheer magic of its history in so many different cultural contexts, really it should be revered. But we tear it, trash it, recycle it occasionally. So in a drawing, it can be elevated out of its presumed worthlessness, the lead state, but that requires the contemplation and reflection upon it.
The layers of my illuminations are something to look through, and see around. There is some digging involved, if the viewer is patient. The chance that a person viewing my work will pause to really figure out the language and the layering is about one in twelve, I’ve watched and counted. So there is also a barrier to some people to even get to the point of being able to think through some of the materials I am presenting.
ANTE mag.Can you respond to/speak more on this reflection?: “These ‘Gaia Illuminations’ are chimeras of ecological relationship theory, practiced and recorded systems of knowledge and magic, and both invented and inherited mythology. I investigate nature/culture dualism through the lens of deep ecology, and face my own hopes and skepticisms through layered symbolic and totemic images, organic textures, and text.”
CJ. I am at heart a maximalist, and when I endeavored to casually reinvent calligraphic illumination through the lens of Gaia theory and Deep Ecology, I used that lens. Everything needs to be in it, or reflected, or hinted at, to truly be representative of a Whole large enough that we could consider the Terra entity. So, I don’t weed the garden beds of these illuminations. I plant a few particular seeds, be it a poem or a myth, and then I let a polyculture grow around it without playing gatekeeper (metaphor mixing here, it’s giving me life right now). So the quote above from my artist statement is a dense shorthand for saying “everything including the kitchen sink” and the totality isn’t afraid of itself. The claws are a different animal than the neck and head, but they nonetheless are unified. The result is tricky to read or disentangle, and that is perhaps how it should be— resilience theory emphasizes complexity, diversity, layers, redundancy. And that is not at all the same type of communication we are used to trying for. We are quite used to essaying our damnedest to be understood, to be clear, and are often encouraged to be pithy— no one wants to read your expounding, mile long email. Clarity and simplicity are useful, beautiful, wonderful, or something else, but if the Terrestrial totality is to be the heart of this compendium (series), then it must be much messier and overfilled. The sheer volume of ingredients going into this work overwhelms me, chronic deep thinker that I am. The way the visual poetry of the entanglements hint at, reveal and obfuscate meaning are a way of reflecting, learning and accepting in the end, how little I know, and how small my powers are. Its a humbling process. To think back to the prompt of Alchemy, I suppose the artwork is more the spagyric, the transformational process, and I am the element undergoing its effects. Whether I come out as gold, or dross, is to be seen.
ANTE mag.What do you have upcoming that you can share with us?
CJ. I am juggling a couple of really exciting exhibitions and events this year. On May 13th I will be contributing to an online discussion with a few other very talented and interesting artists through EcoArtSpace, “Getting Off the Planet” at 1pm EST. https://ecoartspace.org/event-4262935I was also awarded a solo exhibition at the Southern Vermont Arts Center in Manchester, VT this summer. There is an opening reception planned (in person! wow) on Saturday, June 12th, and the show will run through July 2021.The planning and construction of the residency I founded with my partner, In Situ Polyculture Commons, continues; we are hoping to be able to announce an opening schedule for sometime in 2022, but in the meantime I have planted dozens of fruit and nut trees and perennials to support an edible landscape for our future guests. Lastly, in hopes that the health of communities abroad stabilize and recover from this last year and a half of pandemic, I will be looking forward to setting sail on the 2021 Arctic Circle Residency voyage in October of this year. Fingers crossed for many reasons!
Editors: Keep up with Candace on her website and/or follow her Instagramfor updates on current and upcoming exhibitions, such as her solo show at the Southern Vermont Arts Center (Summer 2021) and upcoming three-person show at Amos Eno gallery (Spring 2022.)
Contemporary interdisciplinary artist Kahori Kamiya is a New York-based artist whose work spans ideas of the body: its possibilities, limitations, identities, taboos and malleability. As part of this conversation with the artist, a top prize winner of the “Alchemy” open call curated by Writer, Independent Curator and Wedge Studio Owner/Founder Douglas Turner, Kamiya shares more with Turner about aspects of her work that have changed over time, including her current body of work, its concepts and evolution, and a view ahead into what she has in store in 2021 moving forward. Her work can be found on her website: https://www.kahorikamiya.com/
ANTE mag. Thanks for speaking with us, Kahori! So, you’ve mentioned breast-feeding as one important point – referring to its context as an influence on your current body of work, could you please tell us more about this as a departure point in examining this new work?
Kahori Kamiya. My current sculptures and hanging-works are focused on my breastfeeding time. My breastfeeding was an extreme experience: a dual experience between pain and pleasure. For women who don’t naturally produce milk, breastfeeding is an every-two-hours sleepless act of labor, work that is run in a solitary environment.
By stitching thick foam with a long needle, I am re-experiencing my physical suffering during my several mastitis infections, doing so in order to make a abstracted breasts. Because of its function, shape, and sensation, I felt (breasts to be a separate objects,) another troublesome creature on top of my chest, and I was even calling my breasts as different names of mine. Coincidently, in Japan, ancient people often nicknamed mountains as “breasts”. This comes from the mountain’s shapes and (Japan’s) Animism ideas, and also (as) worship for Mother Nature.
For my ongoing sculpture, I am making a geographic sense of the breast and adding a narrative feature: letting a little toy baby sleep in a cave in front of a snake. The snake has a dual meaning of being poison and medicine.
ANTE mag.What does the artist have to offer? Way-finding, escapism, mythical creation, distraction, contemplation, or exploration?
Kamiya. I tend to offer in my works the opportunity for viewers to experience a mix of contemplation and exploration. For example, my new large sculpture titled Welcome Back (130” x 110” x 100”) is an interactive piece that visitors can sit and listen inside the ruffle sculpture. I am still working on the sound part and my goal of this piece is to connect with the viewers preconscious memories of being secure and cared for.
For the ruffle cave, I sew a unique synthetic fabric called Tulle to make a ruffle to present a breast milk shower. The lightness and see-thoroughness of this fabric evokes in me a feeling of non-substantial existence, such as I felt as if I was forgotten by society when I was on maternity leave. The shiny sculpture part on top of the chair, I paid homage to the Belvedere Torso. Belvedere Torso is an ancient Roman marble statue that presents masculine male nude. Since all mammals can breastfeed without taking a lactation class or watching YouTube videos, I optimistically thought I could magically do it with my “mother instinct” once I held my baby… however, I was all wrong. Humans seems don’t remember how to breastfeed anymore. As a result, my struggle and awkward breastfeeding posture always evokes for me the Belvedere Torso. You may feel strange that I recalled the macho nude statue as my post-natal body, but the reality of breastfeeding is more like cross-gender intense labor.
I also knit multitudes of nipple-ish mandala circles to attach to the ruffle parts. This idea refers to a Mandala design and meaning of co-healing. One unforgettable memory is that my husband started seeing the dream during his sleep that he also breastfed our baby. It was funny, but he wanted to help me, who was suffering to produce one drop of milk. I also wished that I could have more nipples (so that) then I could possibly get more help.
ANTE mag. What are you currently working on, and what can you share that is upcoming for you?
Kamiya. By using a hybrid technique, such as modeling, collaging, painting, sewing, knitting and embroidering into my sculpture, I am interested in transforming Mother Nature and my own reality of motherhood into my work. For example, I like to paint the motherhood gesture/left-over, such as blemish, spilling, scribble, stamp, and stretch marks onto the surface of sculpture. Also, the scribble-like-signs are reminiscent of numbers that I tracked in terms of the amount of breast milk and baby weight every day. At that time, those numbers were very emotional to me.
With continuous wiping and scrubbing motions with my paints, I try to catch a moment of being beautiful. Like how Robert Rauschenberg talked about his process of making art and his materials, he mentioned “Artists are almost a bystander while (they’re) working…”. Being a good bystander is a captivating part of my art practice. I am challenging myself to seek the combination of painting, sculpture, and possible architecture features with a motherhood theme. For a long time, having children was taboo in our contemporary art world. It’s a challenging topic for me to reveal the reality of motherhood, but I am more excited to share my ideas with viewers and develop my works.
My work is currently on view at Woodstock Artists Association & Museum and will show at Lacuna International Contemporary Art Festival in Spain from July – August. Also, some gallery exhibitions in NY will be up this year. Please follow my Instagram, @kahorikamiya to check out my updates!