We spoke with artist Zac Hacmon to mark the occasion of his solo show, Dispositif, at SLAG Galleryin Chelsea during the Fall of 2020. Our discussion ranged from discourse around boundaries – their formation and documentation – and the use of scale to elicit responses from the visitor. As we toured the show we naturally discussed the non-neutrality of architecture and industrial design, and how abstracted forms can still recall the lingering effects of these intentions. The interaction of these works with one another, their industrial appearance contrasted with the aesthetic approach of the artist to the materials at hand, and the expectation and denial of utility in these works composed of ceramic tile all call to mind the readymade and found object in art-making. We plunged into the show and questioned Hacmon on some of the perspectives he has adopted over the course of his practice, inquiring as to how these viewpoints have impacted his work and, particularly, this suite of sculptures on view at SLAG through Oct 18, 2020.
ANTE Mag. Thanks, Zac, for walking us through your exhibition. We discussed the concept of “profanation” as it relates to your work; could you elaborate a bit on that concept and how it informs your practice?
Zac Hacmon. The concept of “profanation” is based on my recent research which follows the structureof religion and its apparatus. If we talk about the “profane” we must define the sacred first, for something to be sacred it means it was removed from free use of men and from the sphere of human law. Therefore to profane means to return things to their free use and to their pure state. Following this hypothesis, in my work I wish to profane our socio-political structures and the way they form in our built environment.
ANTE Mag. I see. During our conversation I was also struck by your remark “to play is almost a political act”: would you elaborate on that and how it affects your approach to your work?
ZH. It is based on a recent text I started to work with by Georgio Agamben. The text describes the act of play as a political task and it continues the discussion we had before, about the “profane” and sacred. If play breaks up the unity of the myth and rite of which the sacred is powered by then the myth disappears but the rite stays. Same can be addressed with my sculptures in this “Dispositif” show at the Slag Gallery. There is an element of failure in the sculptures, they lost their original function as an architectural structure but they also got a playful element to them that can be activated by touch and movement almost like a toy.
ANTE Mag. I would like to hear your views on the formal qualities of your sculpture as relates to space for inclusion and exclusion – could you provide some context for how sculptures on view at SLAG Gallery relates to boundaries or thresholds?
ZH. The industrial materials I use for my work range from private spaces, domestic and home to the public realm and institutions, by doing that I try to create a hybrid of one over the other and question their coexistence. I use the grab bars in my work in order to create potential for individual access and also to call attention to aspects of regulation mediated through contemporary architecture. The sculptures can be conceived as ruins all together but the ruin is being commoditized and repurposed.
ANTE Mag. Elaborating on the above question, can you provide some context for how your ideas around public versus private space is reflected in your practice?
ZH. Privacy is the higher form of intelligence as we wish to cultivate the self and the being. In contemporary society privacy is long gone, as we live in such a technologically advanced system that we are not even aware of our privacy being gone and violated. In relation to my work, I try to employ this conflict and the duality that I see in our structures, conflicts between function and dysfunction, between public and private.
ZH. The use of readymade is very critical to our time even more than it was 100 years ago when it was presented by Marcel Duchamp. These days, we’ve already crossed the line of no return in terms of the global effects of pollution. Before my Fine Art studies I attended a product design and industrial design degree but in my fourth year I decided to quit when they asked me to design a remote control for air conditioner or a cellular phone, as I didn’t want to be part of the waste industry. I think that through my use and manipulationof the readymade I create an antithesis approach which profanes our acceptance of consumption.
ANTE Mag.Can you discuss the role of the readymade and your work? Is the use of industrial materials in any way political, and why or why not?
ANTE Mag.Finally, can you share some of your upcoming projects with us?
ZH. I am currently working on building Capsule no 4 and Capsule no 5 at my LMCC studio. The “Capsules” are part of an ongoing project of creating alternate, autonomous and inaccessible spaces that invade and penetrate the white cube. The “Capsules” will be part of a group show at the Cathouse Proper Gallery which will take place in November 2020. This work will be site-specific installation for the entrance of the gallery; you will encounter these portals right before you enter the exhibition space. For 2021, I am working on a collaboration with the RDJ Refugee Shelter, in West Harlem (which is a shelter for refugees experiencing homelessness in NYC.) For this project I plan to work together with the shelter residents to create an installation at the shelter space for Fall of 2021.
My work gets called “Didactic” a lot, which I learned in grad school is often the white-elitist way of saying “I don’t want to learn history that is not compulsory Euro-centric history.”
Multi-disciplinary Xicana artist and activist Alicia Smith is the featured winner of our open call, and it is with great satisfaction that we are featuring her in a weeklong Instagram takeover she’s spearheading this week (if you haven’t seen her videos you’re missing out!) and in this special interview with the artist. The artist holds her MFA from the School of Visual Arts, and was featured at the art fair UNTITLED in San Francisco in Fall 2019.
Smith’s work spans video, performance, printmaking and sculpture to bring awareness to the existing, inaccurately romanticized tropes that deny indigenous women their individual complexity, simultaneously demonstrating their beauty and strength. We learned more from Smith’s perspective on the implications her practice has on the greater art world, as well as the lessons that she has learned from her ancestors and from the wider diaspora of indigenous nations that have informed her practice as an artist and activist.
(Featured Image: “Erendira”, image courtesy the artist.)
ANTE mag. Thanks so much for chatting with us today, Alicia! We recently learned about an artwork that you donated to raise bail funds for Black Lives Matter, can you tell us more about how this came about?
Alicia Smith. Thank you! That piece is “Molotov Hare,” and it was created really with Black and Brown solidarity in mind. A marriage of indigenous archetypes and anarchist imagery.
There are many indigenous traditions that involve the rabbit as a symbol of rights of passage for young warriors. The Aztecs had their Eagle Warriors walk through underground caves and emerge, ready to defend their tribe. There are jade sculptures depicting rabbits protecting men wearing eagle headdresses to illustrate this ceremony. Black Elk once said: “For the rabbit represents humility, because he is quiet and soft and not self asserting – a quality which we must all possess when we go to the center of the world.” The rabbit is also a trickster. The Anishinaabe’s Nanabozho in the North and Cherokee and Black communities in the South. Many stories of Br’er rabbit are in fact adaptions of West African tales of Anansi the spider. The trickster felt important in the piece because of his ceremonial role. He forces us to re-evaluate where we delineate societal rules and agreements. He does this through perpetually undermining them.
The image is about duty to your people, and that to change the rules you first have to break them. It felt extremely urgent: I cut the block in a day and started taking orders and I did use the piece to raise bail funds for Black Lives Matter OKC and Millions for Prisoners New Mexico. I’m really proud of this work and [proud] that people have been using that image when they protest police brutality.
ANTE mag. As a Xicana artist and activist, your work embraces themes such as decolonization, the Americas’ native nations and knowledge of the natural world such as plant life and medicinal practices. Can you tell us more about the origin of this journey for you as an artist to research and integrate the crucial, yet still too often overlooked, history of indigenous peoples in your work?
Alicia Smith. I feel like I didn’t have a choice, haha… when the ancestors come knocking you better stand at attention and that is sort of what began this path for me. I had always been a pretty feral child, bringing wild animals inside of the house, and I always had a real lust for knowledge, especially in the way of ecology. I feel like re-examining those complex relationships through that cultural lens has taught me more than anything else. My work gets called “Didactic” a lot, which I learned in grad school is often the white-elitist way of saying “I don’t want to learn history that is not compulsory Euro-centric history.” I know doing that kind of work might dissuade people from wanting to look at my art but I hope given the political climate at large that those same folks are at least taking a moment of pause as to why they don’t want to learn indigenous history of the land they are on. But above all else, if it isn’t for them – it’s not for them, and that’s fine too. I love encountering first-generation kids, folks who went through a diaspora, who immediately connect and resonate with the work. At the end of the day if all I did was preserve one inch of sacred knowledge in a piece, then I’ve done my job of being a good ancestor for those who come after me with questions.
ANTE mag. To expand on the above question, can you delve into the range of your practice – spanning video, installation, mixed-media – as relates to the themes such as native culture and traditions and decolonization in your work?
Alicia Smith. By foundation I am a printmaker. So all my work often starts as a relief print before it goes into the world of durational art. I like the idea of being a Tlacuilo: a scribe or codex painter, someone who is recording history, ceremony, etc. So I think my 2-dimensional work acts as a kind of codex and my performances and video are the ceremonies themselves.
I call my work “Secondhand Ceremonies,” inspired by Robin Wall Kimmerer, because these are partial reconstructions and partial innovations. When you are descended from people who survived genocide it means necessarily reconstructing the old with new innovations: Adaptations.
ANTE mag. You reflect on the words of Anishinaabe cultural ecologist Melissa K. Nelson in your description of your work, “Teomama.” Nelson remarked, “the Native Woman’s body [in so] many stories acts as a kind of meeting place.” Can you expand on how this reflection impacted the development of your work?
Alicia Smith. It’s cosmogeneology. In science it’s just evolutionary biology. The most seemingly innocuous Ant has been on this earth for 120 million years. And in indigenous ways of knowing we don’t look at the ecosystem from this sort of colonial scientific gaze. These beings are our siblings. Plants, animals, insects, fungi, they’re our older brothers. And to explain that ethic of kinship, rather than talking about primordial soup, we do it through these eco-erotic stories, where women are often at the intersection. In the Popol Vuh a woman becomes pregnant eating fruit from a tree. There are stories of women marrying stars, bears, becoming pregnant by the wind and on and on. It establishes an ethic of kinship. When I do these performances with Hawks, Wolves, Deer, Horses, Rivers, and so on, its so important to me to convey the medicines of these beings and their teachings as well as the metaphors I imbue them with in the work.
ANTE mag. How has the uncertainty of 2020 impacted your practice, and what current body of work are you focused on?
Alicia Smith. I am very fortunate because I have a government job where we were put on admin leave. I’m also very fortunate that I have been given some room to do what I love to do and share stories from my home, for the museum that I work for. This time at home has been really beneficial for my practice. Unfortunately people who are privileged who dont have to work a 9 to 5 job are usually the ones who can devote more time to their practices and end up rising in their art careers. But this time has allowed me to be so much more productive and to do what I really want to do which is engage with my community and in social justice causes.
Multi-disciplinary artist Sun Young Kang’s multitudinous, scholarly practice mines art historical precedent and a range of scales and materials. This 2020 UAH Contemporary Art Fellow (which is NEA-funded) has exhibited in multiple solo and group shows both in the US and abroad, and she is currently based in New York State. Her work has received multiple accolades and recognitions, and her practice manifests the conceptual across various sites and installations.
We chatted with Kang to gain insight into her practice, including aspects of art historical precedent that have informed her practice, her philosophical outlook and the trajectory in which her work is headed.
ANTE mag. Can you tell us about your practice, specifically in relationship to repetition and the Korean concept of Yeo-baek and the influence of the Dansaekhwa school on your work as referenced in your statement?
Sun Young Kang. My interest is in exploring the duality fundamental to human existence: different realities or worlds both in space and time and the tension between them, the co-existence of antithetical ideas. I reside in between two different cultures. My feeling of marginality makes me wonder about the concept of boundaries, the space or time in between, as well as the interrelation of, different ideas or entities. My focus on this also comes from my background—Korean Painting and its key aesthetic and philosophy of “Yeo-Baek.”
Yeo-Baek is the physical empty space in a painting that the brush hasn’t touched and remains as openness. This untouched part of painting is considered as important as the part filled with images. Visually, Yeo-Baek creates the balance of positive and negative space in a painting. Conceptually, this negative space stimulates the viewer’s imagination about what is not there and invites them into the artwork. This quiet blankness makes the artwork interactive by requiring the presence of the audience.
This contemplative yet interactive aspect of Yeo-Baek is also an important aesthetic of most of Dansaekhwa art. When I was in school majoring Korean Painting in mid to late 1990s, I don’t recall hearing the name “Dansaekhwa.” But many of the students were inspired by the aesthetic of several Korean artists who are now spoken of as the pioneers of the “Dansaekhwa movement.” It is obvious to me that my practice also reflects the influence of the aesthetic of Yeo-Baek and Dansaekhwa.
The most obvious connections to Yeo-Baek in my work are the physical empty space as a key element both conceptually and aesthetically and the audience’s presence in activating and completing the piece, whether it be as a reader of my book or as a physical part of the installation space. The minimal or limited amount of techniques and materials in each project and the repetition in the process of making and in the resulting texture and visuality evoke characteristics of Dansaekhwa art. Rather than specific images or colors, my practice focuses on the material itself: the lightness and delicacy of paper and other soft materials, such as thread, hair, and powder, and light and shadow effects. Each material has metaphoric meaning intrinsic to the theme or concept of my work. I routinely use simple but obsessively repetitive processes in the making, such as cutting out or burning paper or printing repetitively, casting objects, stitching or hanging hundreds or thousands of threads in a space. The meditative aspect of a repetitive working process is also present in the Dansaekhwa artists’ practice. The repetition in my work visualizes time-passing and symbolizes time made spatial, reflecting the passage in between or across boundaries, and the repetitive use of a technique and minimal materials creates a tactility, a visual obsessiveness, that brings the audience close to my work.
ANTE mag.Your practice moves between book art and installation to 2-D work and works on paper, can you walk us through the evolution of your practice as a multi-disciplinary artist working across multiple mediums?
SYK. In Korea, before I joined the Book Arts/ Printmaking program, I worked strictly on 2-dimensional paper canvas, but the transition from painting to book was not as radical is it sounds. The most common material for a book is paper, as it is for Korean painting. The intimacy and the quiet interaction that a book can offer its readers was for me very much like the interactivity of Yeo-baek. Also, in a book form, 2-dimensional paper turns to 3-dimensional space as the pages are stacked, folded or bound together, and that structure offers a sense of narrative and time passing. An intimate and portable book can contain the idea of space and time that through the viewer’s imagination is unlimited.
Some of my early artist books focused on visualizing the invisible space in the structure of the book. I used the repetitive processes of cutting, burning or printing to create tactility as well as to evoke meaning. This has been key to most of my installation projects as well. My interest in the physical, conceptual space of a “book” and its interaction with the viewer led me to create large spaces in which audiences could physically immerse themselves, contemplating time passing and dwelling in uncertainty, as they took part in creating a space that envisioned the boundary between antithetical ideas, ideas often visualized as light and shadows. Below is a description of an installation that I recreated several times, an example of how a sheet of paper became a large space and how an installation evolved from the philosophy of Korean Painting and the concept of the space of a book.
Sometimes I consider my 2-D works as books or my books as works on paper. That depends on each project, on my thoughts as to how an audience would interact with my work, how best to communicate my idea. Without thinking, I move between different mediums.
ANTE mag. Can you reflect on an exhibition, residency or fellowship you’ve had and how that has impacted your practice or provided a turning point?
SYK. Every experience of an exhibition, residency, and fellowship that I have had has been a turning point in some way. I cannot begin to list all the opportunities and support from institutions, organizations, and individuals that have impacted my practice. One particularly important experience was my first oversea residency in 2017.
I was invited to be a resident artist of the Soulangh Artist Village in Tainan, Taiwan, through COPE NYC International Artists in Residence Exchange Program. It required courage from the beginning, as I had to be away from my family and travel to a country I didn’t know. Also, at that time my mother in Korea started to develop Alzheimer’s, which had a powerful effect on me, making me reflect on my past, my home, and human connections encased in memories. The spirituality of the local culture in Tainan and its relation to contemporary life inspired me. There I created my first work without paper at all, using cotton thread and sugar powder.
This was a temporary site-specific installation for which I used locally found materials and which I shared with the local community, all strangers to me, not by any kind of direct communication, but simply through the emotional exchange made possible by the installation itself. I came back home without any physical work, but with incredible memories and friendships and inspiration. This residency led me to think about the temporality of the physical art work into which I put so much energy and time. I came to value more the process of interacting with my surrounding and creating works for a specific place and time than creating physical artifacts that lasted beyond that. I began to feel that the experience of the work, once it came to life, and the memory of that, were enough.
“The Endless Lines” consisted of 3-dimensional structures built by using strings of 1-dimensional thread, my attempt to visualize the invisibility of time passing (the continuous lines being my illusion of flow of time) and the spirituality and beliefs of a culture that could not be grasped by our concept of any dimension. This installation made me think of how we define the passage of time and how time creates memories that connect individuals and the past and future. I started to use in my work the 1-dimensional physicality of thread as a metaphor for connectivity or continuity and my shed hair (also a kind of thread) as a metaphor for the detached self, memory-loss, and disconnection.
Last year I again created a site-specific work, this time in Seoul, Korea, and again came home with empty hands. Traveling to a place far from where I reside limited my materials and techniques. I carried in my suitcase rolls of thread, needles, magnets, and some small pieces of paper and with those created 6973 miles of force in 1cm in Korea, my home country.
ANTE mag. Can you tell us more about what you’re working on recently and what direction your practice is moving toward? SYK. My present practice is a continuation of my recent work, but instead of temporary site-specific installations, I have gravitated toward work that I can do alone in my home studio, whether it be a small-scale work or an installation. My practice now involves more planning and designing than being inspired by something unexpected or a new setting.
Currently, I am preparing an upcoming exhibition. I have been invited by the University of Alabama at Huntsville to be the 2020 UAH Contemporary Art Fellow (funded by the National Endowment for the Arts) with a solo exhibition and public events. The visit has been postponed from this fall to early next spring due to the pandemic. I feel very fortunate to have this opportunity to look forward to during this isolation. For this exhibition, I am going to expand and develop my previous paper installation project In Between Presence and Absence. So, I am now back to the cast paper process which I did for many years. I want to accentuate the interactivity of the space given to me for the installation, a space that to me seems quieter than those of my previous installations.
ANTE mag. What’s one specific work you’ve made in the past three months, and what about it is inspiring you consider new concepts and formal evolutions in your work? SYK. Since I cannot travel for a residency or exhibition, I am looking more into myself. These days I think a lot about my home, which seems farther away than ever, and my mother—now in a nursing home and not allowed contact with anyone outside that home—slowly getting close to the end without understanding what is going on in the world around her. These painful thoughts have led me to revisit and rethink my previous work “Line-Drawing II: The New Existence”, which I began at the Vermont Studio Center during a residency a year ago and developed in my home studio at the end of last year.
The two primary materials with which I am working for “Line-Drawing II: The New Existence” are bricks and my shed hair. A brick, broken in half, represents a split self, two identities, the space between the past and the future. Shed hair symbolizes for me the detached self and memory loss, suggesting the weakened connection between my current self and my past self and between me and my home country.
I repeatedly hammer on the brick to create a crack and eventually split it into two pieces. After breaking the brick, I photograph it and, again, in a repetitive movement, embroider on the photograph, with my hair, lines between the two parts of the brick. Those repetitive actions visualize the concept of ourselves as the embodiments of time passing between the past and the future. One cannot connect two heavy objects such as bricks with delicate hair; that is only possible on a two-dimension rendering, a photograph, of the brick pieces. I see my line embroidering as reconnecting, symbolically and impossibly, the gap between past and future, between two identities, reconnecting the two parts of a split self. In reality, the present is continually shifting. The future becomes the past. Establishing an identity and settling into the space between past and future are profoundly difficult. Thus, I explore the concept of time and space through the 4-dimensional process of breaking the bricks and line-stitching the photographs, the 3-dimensional bricks and embroidered hair, and the 2-dimensional photographs.
For the past couple of months, besides working on my upcoming solo exhibition, I have been working on this project, which I have renamed “Impossibly Connected.” Although the theme and concept were established, I didn’t consider the piece complete. My idea was to recreate it by re-photographing the bricks to get more spatial depth in the photos to emphasize the exploration of different dimensions of time and space.
My feeling of being marginal, living between two cultural realities, trying to bridge two identities and wanting to explore themes of time and space and the conflict between past and future seem more pressing to me now than ever. And I sense that other people are feeling the same. My repetitive motion of impossibly connecting the broken bricks in the photo with my shed hair evokes and embodies my constant questioning: What is the reality that we believe is real now? How can we reconnect each other after this? Where can we find the lost time? Completing this project may not be important, but the symbolic movement of connecting the pieces allows me to question and think. I will work on this piece for as long as I feel I need to. I feel this process will take me to a new place, a new direction. What or where I don’t know.
Artist Gabriel J. Shuldiner demands much of his medium. An artist who creates works by building layers of paint and industrial materials in a meticulous manner, his paintings are comprised of sculptural layers constructed in careful relationship with the preceding layer, existing in a unique and original tension indigenous to the particular work itself. His attention to construction –and just as fittingly, deconstruction– becomes apparent in the singular surface of each of his finished artworks.
We touched base with Shuldiner to gain insights into his studio, and as an Open Call winner, to learn how he has perfected his practice.
ANTE Mag. Can you tell us about your practice, specifically within the context of layers upon layers as referenced in your conceptual artist statement?
Gabriel J. Shuldiner.While painting, I gradually build up a work… layers upon layers. It’s primarily all paint, along with some industrial construction materials. Each layer informs the next: how the materials work with and against each other. There is always a sense of surprise, of tension working with the matter, but intent remains, and as layers compound, remnants of previous layers are left over, hidden, revealed, and exposed, becoming layers upon layers of physical matter which mirror the conceptual layers I also attach to the work.
ANTE Mag. You specifically mention three terms, Brute Minimalism, Hybridsculptural painting and Post apocalyptic black – can you explain how each of these terms define your work?
G.J.S. I was looking for a quick way to explain my work in the most concise manner as possible. I like words and word play. I don’t like definitions; having to define things and describe things that should be seen and experienced is something I don’t like, but I understand the necessity. My work is influenced by so many visual genres, and musical genres. Traditionally my work is steeped in the history minimalism and abstraction and conceptualism. But my work is also brutal…brutal in a good sense. It’s delicate and playful, brutal and raw. The term I use is “bruteminimalism”: it just came to me and it sounded right. I’m a painter who creates Hybridsculptural paintings rather than a sculptor who creates painting-like sculptures. Given that my work fluctuates between painting and sculpture, the works I create are literally “hybrid sculptural paintings” As for “postapocalypticblack”, I felt the word appropriately described my own unique variant of black. It also aptly riffs on the age old falsity that “painting is dead”. I heard that term a lot in graduate [art] school and thought it the most ridiculous statement ever. It seems to come along every few years. Apparently painting has been dying ever since the first cave paintings appeared… this term perfectly played on that absurdity. You just can’t kill it. The physicality of the material, the blackness of the material… it is postapocalypticblack. You know it when you see it.
ANTE Mag. Recently you have shown at Monica King Contemporary, how has it been exhibiting your work during the pandemic and how has it been different for you showing work now than pre-COVID?
G.J.S. I had a piece in a benefit auction Monica King Contemporary set up to help raise money for the CoVid cause. I love her gallery and was grateful to be asked to be in it: I had been looking for ways to help during the pandemic. At the time I was offering limited-edition mini-paintings direct via my Instagram and donating 50% to the CoVid-related organization of the buyer’s choice. And then the gallery asked if I would take part in their benefit. A completely virtual online benefit. Of course I said yes.
Showing my work now, during CoVid, I feel I’ve adapted to the current virtual world quite well. I’ve done several Zoom artist talks, a few interviews and have had several group shows. I’ve also sold work! All virtually. Given the physicality of my work and the crucial importance of light as an actual material, a 2D screen doesn’t do my work justice. I think that’s true for all visual arts. But it’s extra true with my work. There is something magical, experiential and spiritual about standing before a painting and looking at it. It’s a personal experience between you and the work. This pause in showing work in the real world is definitely strange. But at the same time, there are so many new outlets to get the work seen, and seen by so many more. The reality is that most people will initially discover my work virtually. That was probably true pre-pandemic, but now and post-pandemic, it will be the primary way people will experience my work, so I’ve spent a lot of time perfecting the way I photograph [the work] and I’m pretty happy with the results.
I see the image as I see my aforementioned descriptive terms: as a quick way to show, explain and attract… with the goal of having that introduction lead to an in person studio visit – which is convenient because my studio is in Chelsea (Manhattan.)
I have several (studio visits) lined up, but I’m not yet ready for in person studio visits, no matter how well-enforced the social distancing and masking.
ANTE mag. Can you tell us more about what you’re working on recently and what direction your practice is moving toward?
G.J.S. Throughout CoVid, I’ve been lucky enough to really focus on creating a new body of work. I’m really tightening the work up, and I feel I’m actually making my best work now during the pandemic. Every painting I have ever created has gotten me to this point.
Working without having any deadlines or distractions has been very freeing, and creatively inspiring. But for the most part, my routine hasn’t really changed all that much during Covid. I still paint every single day. Right now I’m working on some larger pieces. That’s where my head is right now. I’m used to having complete control over my work. I like making work that I can handle physically, as I want to be able to move the piece around as it is created. The back becomes the front, and the top becomes the bottom. I want to be able to twist, cut, rip, tear, punch. The deconstruction is just as important as the construction.
The way I work is sorta manic. I work on multiple pieces at once, bouncing ideas off each work. Eventually certain works tighten up and reveal themselves and then I move in to complete them. The way I show my work is the opposite, super minimal: one piece surrounded by nothing. The majority of my current work has been relatively consistent in size and thus easily maneuverable. The direction I’m headed is larger, so I’m figuring out how to navigate the larger works in a similar manner. I want that intimacy to remain. I’ll figure it out.
ANTE mag. What’s one specific work you’ve made in the past three months, and what about it is inspiring you consider new concepts and formal evolutions in your work?
G.J.S. I have a complex equation in my mind that has to balance itself out in order for me to consider a work complete, and successful. It’s just a feeling I get. With “zTCTdyH<B\,H3h]_system” for example, I feel I have accomplished that. The way the different materials play off each other makes someone wonder: what is the surface? What is the support? Is it a painting or a sculpture? What is it made of, and how is it made? The interplay of light upon the varying shades of black, creating various areas of white and grey. I can stare off into work I consider successful for hours and it transports me.
Ultimately I am painting primarily just for myself… which is a crucial point. And that’s the test, really, to reach that space: that place [which means for] me, someplace calm amidst such concentrated chaos.
Each work looks so simple. It’s a black painting. But the longer you gaze into it, the more the complexities gradually reveal themselves.
We sat down to learn more about her time specifically at Franklin Street Works, and how the organization is dedicating its next chapter to archiving its powerful body of programs, events and exhibitions, contextualizing them for a new audience.
(Below image, Cut Up: Contemporary Collage and Cut-Up Histories through a Feminist Lens curated by Katie Vida, installation view. Foreground: Faith Ringgold. Background (L-R): Meredyth Sparks, Martine Syms, and Lourdes Correa-Carlo. Photo by Object Studies
Lead image, Roots & Roads, curated by Anita N. Bateman, installation view. Foreground: commissioned site-specific installation by Nontsikelelo Mutiti. Background (L-R): works by Jay Simple and Bryan Keith Thomas. Photo by Object Studies.)
ANTE. Thanks, Terri, for sitting down with us! So Franklin Street Works was known as a contemporary art space but during your time working there, it achieved recognition for engaging with social justice as well. Can you elaborate on the founding of the space, its evolution and how social justice aligned with FWS’ mission?
Terri C. Smith.Being the founding creative director of an arts organization is a unique perspective because you are steeped in its institutional history and have a deep on-the-ground understanding of its growth and impact. When I was invited to co-found Franklin Street Works by Stamford lawyer and philanthropist Kathryn Emmett she had the idea of an art space with a cafe. It was up to me to craft the specifics in terms of mission, vision, and programming. I had been in Connecticut working in the arts for a few years and had a sense of that scene. When I began conceptualizing what FSW might look like, I was thinking a lot about NYC alternative art spaces from the 60s and 70s like Artists Space, The Kitchen, and Food and their commitment to emerging artists and grassroots principles. I also had 15 years of experience working in two accredited museums and valued good scholarship and museum best practices. So my thinking was to create a program that included rigorous exhibitions and also integrated values of community inclusion – a discursive, social, and activist community hub with contemporary art at its center.
When we first opened in Stamford, Connecticut, showing conceptual art necessitated a lot of interpretation and direct conversations with visitors. In the beginning, merely showing conceptual art felt like a form of activism! All of our exhibitions were original, thematic group shows curated in house by guest curators or myself. This thematic approach aimed to build an audience beyond arts-interested individuals by drawing connections between contemporary art practices and events in our day-to-day lives. In other words, if an exhibition included work about the environment, the idea is that it would attract folks who might not be familiar with contemporary art, but, because of their interest in nature, science or conservation they would have a point of entry. It was an individualized approach that aimed at connecting, often challenging, contemporary art to a broader public.
As far as how the social justice trajectory connected to our mission, these key factors spring to mind: our coincidental opening of the space when Occupy Wall Street was encamped in Zuccotti Park; an archive of artist activist collectives we developed for a 2013 exhibition; our exploration of Franklin Street Works’ values with a 2014 strategic plan; and a show on immigration Yaelle Amir curated for us in 2015 (see above, “Acting on Dreams.”) I’ve only recently realized it, but Occupy Wall Street was a profound influence on the formation and direction of FSW. I knew some artists who were involved in the Park – many of them affiliated with Bard MFA. It was intriguing to me how artists brought an unmonumental sculpture/MFA materiality to activism and how an alternative, pop-up social system that shared qualities with social practice projects was being constructed from scratch there. I now understand FSW was influenced by OWS’s materiality and its creation of an inclusive, activist space that interrogated the status quo and posited corrective, world-building scenarios.
Social justice as an exhibition theme was directly addressed for the first time with our 2013 exhibition Working Alternatives: Breaking Bread, Art Broadcasting and Collective Action, co-curated by Mackenzie Schneider, Jess Wilcox and myself. We were thinking about how artists used food, broadcasting, and collective action during the early history of alternative spaces in NYC, and how artists were still using these tactics. Jess explored artists who use food, Mackenzie looked at artists using media like television and newspapers, and our gallery manager, Sandrine Milet, and I explored collective action, sending out an open call for materials from self-described artist/activist collectives. The starting date for our artist/activist collectives was the end date of an existing archive organized by NYC artist/activist collective Political Art Documentation & Distribution (PAD/D), which included socially conscious arts organizations working from 1979–1990. We put a call out to more than 90 collectives and received materials from approximately 30. While the show was on view, Brooke Singer, a Professor of New Media at SUNY Purchase (who was in one of the collectives we exhibited) invited us to take the archive out of its boxes and present it as an exhibition at the College’s Passage gallery later that year. Sandrine and I curated Collective Action Archive with Purchase students Stephen Barakat and Gina Mischianti, writing additional interpretive texts about the collectives and exhibition essays from various points of view. Eventually the materials were accessioned into the SUNY Purchase Library zine archive, making them available to students and scholars.
Nadia Wolff-commissioned performance, A Litany, at the opening reception of Roots & Roads, curated by Anita N. Bateman. Photo by Terri C Smith.
This year-long immersion into collective action art practices was followed by Franklin Street Works’ 2014 strategic plan, which re-emphasized our commitment to socially conscious art and community engagement. In the strategic plan, we described our core values, “Art is part of a larger social enterprise and thereby serves as a catalyst for social action. Both the individual artist and our communities are vital partners with us. The artist creates new models and impacts our communities. Our communities generate creative conversations within our space and elsewhere about our production.”
The next year, when Yaelle Amir curated Acting on Dreams: The State of Immigrant Rights, Conditions, and Advocacy in the United States, FSW’s work in social justice really began to crystallize.I personally had an “ah ha” moment about how actionable elements could become part of an art exhibition when Yaelle asked us to create a resource list of regional immigrant organizations for the catalog. I was energized by how Acting On Dreams was firing on all cylinders. The artworks and commissioned installations were well executed and materially interesting, but it was also exhibition as logistical support, community gathering place, investigative journalism platform, educational venue, and more. From then on, we were off to the races in actively planning exhibitions that addressed social justice issues head on.
ANTE. The pandemic has affected everyone in the arts, and has required flexibility and resourcefulness. Your team has recognized that the time has come to put future exhibitions in the physical space on hold. What are your goals moving forward in building an archive? In addition, how do you hope this archival project will evolve? What resources in particular are you seeking to help achieve this goal?
TCS. It is important to me that the legacy of Franklin Street Works lives on through a digital archive that is organized and accessible to anyone interested in contemporary art history or any of our 415 past exhibiting artists and collectives. I’m working with a handful of past board members to map a path forward in creating that. Right now we are exploring the best approaches in applying for archiving grants. I’ve also been talking to other small art spaces that no longer have physical spaces but still have an online presence, and chatting with archivist friends about the best order of operations in getting started. Since the entirety of FSW’s institutional memory is in my brain and my computer (and back up disk, of course!) it is my responsibility to organize the materials in preparation for a professional archivist. In a perfect world, I’d like to have the spirit of FSW live on in a less localized way. It would be exciting to see the archive combine with a national program of grants for emerging artists and to create and/or support commissioned projects.
Love Action Art Lounge curated by Terri C Smith, installation view of Carmelle Safdie’s commissioned, site-specific installation. Photo by Object Studies.
ANTE. What particular aspect of your tenure do you reflect on with satisfaction?
TCS. There are so many, but two aspects that come to mind immediately.
First, the transformative nature of Franklin Street Works’ educational programming. The physical space of FSW is an intimate repurposed Victorian row house. So when we had tours, talks, and performances, there wasn’t much physical distance between the community and the presenters. I also intentionally set a very welcoming tone that signified there wasn’t much, if any, hierarchical distance between artist and audience either. I think this intimacy and casual, social vibe created a comfortable space for learning, questioning, and authentic connection that was memorable and resonant. There were dozens of times when a past event attendant would volunteer specifics about how it changed their perspective or affected the course of their work or life.
The second aspect is a personal one. I developed so many wonderful relationships with FSW’s artists, curators, staff/board, interns, and contract workers these last nine years. So many of the people we partnered with on projects were collaborative, talented, and conscientious. My life is vastly enriched for having known them. I was 43 when I co-founded FSW. Frequently in middle age we can become set in our ways, but my life was infused with an endless stream of compassionate critique, encouragement, and aspirational thinking. Many of the folks I worked with became my teachers, modeling generosity and inquisitiveness, pointing out when I was being old fashioned or on auto pilot, and perennially challenging me to work toward optimal equity and inclusiveness. As stressful as the labor of running an art space can be, the love, laughs, and learning outshone the fatigue that sometimes accompanies this type of work.
Sherry Millner artist talk on the occasion of In this place where the guest rests, curated by Jacqueline Mabey. Photo by Michael Mandiberg.
ANTE. How have you focused your energy on moving forward during the pandemic as a cultural producer?
TCS. With the COVID-19 pandemic, this is such a universal question right now in the arts and beyond. Right now my energy is focused on staying connected with close friends, taking care of my body with exercise, and connecting to nature (and my dog) with walks and gardening. I’m also doing some freelance grant and copywriting for an Alzheimer’s organization which has me thinking about how the labor of families, especially women’s labor, is literally keeping eldercare afloat in the U.S. I am thinking there is a feminist exhibition on labor, healthcare, and ageism in there somewhere. Things are still fresh with FSW closing, and I lost my mother recently too so there are a lot of new normals to digest, consequently, I am doing a lot of reflection right now, in a good way, I think, I hope..! Haha.
As we touched on earlier, I am starting to organize materials for an FSW archive. I am also awkwardly working to shift the Feminisms and the Arts class I teach at UConn-Stamford to distance learning and continuing ask colleagues and friends – especially those whose practices are about creating more equity and inclusiveness in the art world – how I can support them and their work during these difficult times.
In contemplating the last nine years, I’ve realize that curating for me is most rewarding when it’s in collaboration with a community where I feel a significant connection. Ideally, if I were to commit to another full-time position in the visual arts, the community I choose to work with would be as important as the organization. The places that feel like home to me are Bridgeport (where I live) and New Haven (where I have friends and there is a vibrant art scene) as well as my hometown of Nashville, TN. So I hope to stay put in Connecticut or move back to Tennessee. That said, we never know what the future brings, so I’m keeping an open mind at the same time
MaryKate Maher is one of those conceptual juggernauts whose work you discover and instantly wonder how you haven’t run across it sooner. Her awareness of the nuances of structure and the volume of forms create lyrical and compelling sculptures and installation work. A thoughtful artist with a strong record of exhibitions who also just so happens to be an alumna of both Skowhegan and MacDowell, Maher proves through her practice to create gradual crescendos, impressing her admirers with a criticality and subtlety that holds precious secrets for all who encounter her work.
We touched base with Maher to gain a more in-depth appreciation of her practice in light of her selection as an Open Call winner, learning about her background in painting, her ruminations on balance and the careful, tenuous relationships binding individual components to the whole.
ANTE.Thanks for chatting with us MaryKate. Can you tell us about your practice and specifically the tension between the organic and industrial latent in your work?
MaryKate Maher.I have a background in painting and drawing that has transitioned over time to include sculpture and elements of photography. They influence each other in ongoing conversation. This dynamic between structure and tonality, color and line serves as a useful aesthetic corollary to the organic/industrial duality. I find industrial landscapes beautiful and sad. In their pristine states, the industrial dominates the organic, cutting through it, confident and domineering. In its dilapidated state, one sees the organic reasserting itself, softening the borders. That juxtaposition interests me. I don’t go out looking specifically for it but it seems to find me, catching my attention when something seems “right”.
For example, one moment I keep trying to recreate occurred about two years ago when I was driving home from my studio in Bushwick, Brooklyn. It was sunset and I was driving near Kingsland Avenue, which is a very industrial route. There is this large white holding tank (oil or fuel). On this particular evening the sunset was reflecting perfectly onto the tank so that both the tank and the sky had the same pink and purple gradients. The industrial was acting as a mirror for the organic. I didn’t have my camera with me and I kept trying to pull over in traffic to either take a picture with my phone or figure out what I wanted from that moment. It was rush hour-hectic and I missed my chance. I drive by there all the time trying to re-catch that experience, but I haven’t seen it again. I’m not sure what I expect from seeing it again but the gradients I saw from the light that day have found their way into my work.
ANTE.You specifically mention cairns as an influence in your practice. Can you speak to the impact that and other natural phenomena have on your work?
MaryKate Maher. Rocks and cairns have been a fixture in my work. With cairns, you have something very organic with a touch of the human added. The most basic human gesture. I think about how that gesture would feel to someone wandering alone through the wilderness. Is it reassuring? Is it spooky? There’s also a sort of game to making rocks, which do not on their own lend themselves to stacking, balance one on top of the other. In my work, it turns into manipulating weight and balance in ways that emphasize awkward and precarious arrangements. I’m not interested in picture-perfect compilations. I tend to stack and pile using chunks of concrete and other fabricated forms, wedging something into another form. There is a deliberateness to this action which is weird, imperfect, and provisional.
Nature isn’t pristine. It creates all sorts of bizarre conglomerations like “plastiglomerates’ which are a literal fusing of plastic pollution with organic debris to create a new form of rock – a direct result from human pollution. In my personal collection I have an oyster shell which has fused itself to styrofoam like a barnacle. Its a perfect riddle: what is overtaking what?
I also love the tradition of the Scholars’ Rock and Odin stones where natural formations are so thoroughly aesthetified that they come to read as sculpture. Other phenomena like Fata Morgana and mirages, light refracting on the horizon creating interesting effects: all of these influence my work in some way. When I can travel and explore I collect all these feelings and moments from different places and bring that back into the studio. I love geology and seeing famous collections, like that of Roger Caillois, and Standing Stones in Britain. There is a power to all of these objects and for centuries people have tapped into that.
ANTE.Recently you have shown at venues such as Triangle Arts Association and the Brooklyn Army Terminal. You’ve also shown at outdoor sculpture venues. Can you walk us through the positive aspects of both gallery and public/outdoor sculpture exhibitions?
MaryKate Maher. My studio is pretty messy most of the time and venues that are more of a traditional gallery space are ideal for seeing the work in that clean, open space. You can control the presentation, the lighting, all of those things. You can play with scale and formality. There aren’t many “unknowns” thrown into the mix. Outdoor sculpture is usually just one work and it has to stand up to other criteria like weather, scale, and durability in addition to it being a finished work. It’s a fun (and stressful) challenge. It’s like being a director: making sure everything is happening on schedule and organizing all of the components, renting equipment, hiring help, etc. Working outdoors can have perks that can’t really be created indoors, and it’s always a big learning experience. Last year, I was curated into a sculpture exhibition in the Poconos along a local hiking trail. All of the works that were included had to address the natural world and couldn’t interfere with the natural environment there. It took me a long time to figure out what to create. It had to stand out against the camouflage of the woods, but also meet my standards of refinement. I had been working on and off with large blocks of livestock salt but had only ever shown the salt works in an indoor setting. I ended up creating a totemic form that stood out against the earth-toned surroundings. Salt is elementally of the earth, so it’s soft and organic in its own way, but compressed in this form it becomes rigid and structured. I knew the rain would erode it and that animals might eat it, that it might kill the grass underneath. I envisioned it melting away in this beautiful spire-like form to create an entirely new sculpture (which didn’t happen). As the exhibition progressed over the twelve months of the show an evolution occured: morning dew ensured a permanent wet, sweaty gloss to the salt, rain eroded the edges making it eerie and otherworldly, and deer and racoons came in the night to lick the blocks thereby leaving divets and marks, but the sculpture never changed the way I thought it would. All of the moisture kept eroding my anchors and epoxies and those blocks are so damn dense they take forever to melt. The animals did create an impromptu performative aspect of the work. Eventually it just became a ruin. It was still a cool piece, but there are a lot more “what ifs” with outdoor work. I find that when I’m invited to make outdoor work, I try to go as large as the budget can go and when I’m invited to show in a gallery setting I can scale up or down as needed.
The show at Triangle Arts was a really beautifully curated exhibition by Annesofie Sandal who I had recently met while exhibiting work at the Brooklyn Army Terminal. It was a nice connection and both of those shows were great to be involved in.
ANTE.Can you tell us more about what you’re working on recently and what direction your practice is moving toward?
MaryKate Maher. The pandemic has really thrown a wrench in things for me. In February/March 2020, I was in residency at the Wassaic Project. I was exploring all sorts of new ideas and thoughts, testing out new materials and processes. Within 5 days of returning to NYC, the city completely shut down. Many of those ideas that would have had the chance to possibly cultivate into something interesting suddenly seemed moot. So they’re all on the back burner for now. My brain – and body – just don’t have the energy at the moment to tackle them. Instead, I’ve been focusing on works on paper and collages. There were too many unknowns and a lingering lack of structure present in my day to day, so I created a project with set parameters. I printed a bunch of images and photographs that I had been working with and cut them all up. My task is to create new collages from the same cut papers by rearranging and reusing the pieces. Then I take a photograph of the ones I like and turn them into a print. There is a nice immediacy about working this way as well as permission to put it all away on the days when it feels frustrating. The completed works are turning out pretty well. The original images included lots of gradients and abstractions of light, and they create these interesting depths and spaces. They are very abstract and surreal, but I’m digging it for now and just rolling with it. There is a lot of repetition because the same forms show up throughout the work, but it’s helping to create this concise series. They’re also helping me think about ways to translate that into sculptural forms.
ANTE.What’s one specific work you’ve made in the past three months, and what about it is inspiring you consider new concepts and formal evolutions in your work?
MaryKate Maher. The collages I’ve made during the quarantine. These branched out from work I was doing right before the pandemic but the previous work wasn’t really there yet and needed to be pushed further. Being stuck in my small apartment, with my family, all of us on top of each other, I would sneak away and sit in my window sill and stare out at the world below. Listening to the intense quiet, watching the sunsets, seeing the birds going about business as usual, spying on neighbors using their roofs for exercise. I thought a lot about light, space and bodies. The colors I was working with were magentas, pinks and reds and they felt bodily and intensely oversaturated. Color has been moving into my work in a way it wasn’t before. My neutral palette is evolving for sure from this recent work. As I start to get back to the studio, I see the work continuing in this direction as I figure out what it means: cut forms, saturated colors and finding new ways to create space through flat planes.
(Lead Image: Prussian Blue (head), 2019, resin, concrete, brass, gold leaf, prussian blue flashe, 16 x 12 x 8.5in)
“We live in a globalized world now, and I believe this perspective is crucial for career development.”
Mixed-media artist and architectural designer Tianlan Deng goes above and beyond when approaching new projects, in both scale and concept. Fearless in probing existing boundaries, Deng draws from his multitudinous skill set, educational background and knowledge of world cultures to bring award-winning concepts to the table for his design projects. Deng has experience working internationally as an architectural designer, professor, and thought leader in design. We became aware of Deng’s most recent proposal, which also caught the eye of the Rockaway Park High School for Environmental Sustainability-Beach Channel Educational Campus. Deng’s vision for a bright, revitalized campus blighted by insufficient budgeting and oversight has generally enthused both the educational community benefiting from the project and our team here at ANTE.
Deng himself is thrilled for the positive impact this project will enact on the wider NYC community at large, and the potential it has to serve as a role model for other campuses seeking to engage students at a visceral level. We sat down with Deng to dive into his background and to gain some perspective on what this exciting project means for his career and for the community at Rockaway Park High School.
(Lead image concept, “Live Learning” by Tianlan Deng for Rockaway Park High School Beach Channel Educational Campus Auditorium re-visioning)
ANTE. Thanks for chatting with us Tianlan! Can you start by giving us insight into how you envision your architectural project with Rockaway Park High School will optimize and revitalize this educational community and enhance students’ learning experience?
Tianlan Deng. Thanks for having me here. As you probably know, in New York City, many public schools situated in low-income neighborhoods often face challenges of low funding support and safety concerns. Consequently, these schools feel like a prison, and they often fall into a financial down cycle: poor learning environment, lower graduation rate, dwindling student population, limited finances — leading to the school eventually being shut down. My project “Live Learning” aims to ease the prison-like atmosphere in the school, improving the students’ educational experience and overall quality of life. This will boost the school’s future prospects for securing funding and recruitment.
The struggle of these underfunded public schools is a long-term result of educational inequality in the United States. To remedy this situation, we cannot depend solely upon systemic policy reform, which often falls prey to cumbersome approval processes as well as broader political interests. However, as a discipline, architecture and interior design can be a highly effective alternative tool, because it offers technical & creative solutions without the politics. By adopting a temporary art installation and projected (digital) media, I believe this project can foster a comfortable and uplifting environment, inciting curiosity, passion, and hope in the student body.
ANTE. You approached this project as your thesis for your Master’s degree at Pratt Institute. Can you discuss the program you recently completed at Pratt and what specifically this project addressed with regard to your aims for that educational program?
TD.It encourages the students to develop a sense of social responsibility. Before entering school, my artwork mostly dealt with the issues in the education realm. Enhanced by Pratt’s ideology, I became more involved in these conversations. Meanwhile, Pratt’s open and skillful platform helped me expand my artistic practice into the realm of architectural and interior design. Consistently, the thesis program at Pratt strongly emphasizes social and environmental issues. Since education always factors into larger socio-economic issues, I discovered an opportunity to develop a long term design project in my new discipline.
The parallel of being a designer for a Public High School and a student at Pratt provides a great reference point for my research and development. Although the differences between a college and a high school are substantial, I still can gather plenty of information by comparison. At Pratt, we have free access to most of the high profile museums in NYC, while the students of underfunded schools may never visit museums during their lifetimes. We use advanced digital fabrication equipment at Pratt, while some public schools use textbooks that are in shambles. From that angle, I witness the vast disparity between the two poles of America’s education system. These vivid contrasts shape and grow my design intention and responsibility.
ANTE. Your career goals seem to intersect both progressive education and experimental architectural/spatial design: what about these dual concerns draw you to working on projects such as this upcoming project with the high school?
TD. My belief in progressive education is rooted in my personal experience. For 20 years, I was suffering from studying under a Chinese education dominated by tests and mechanical learning. In those monotonous Chinese classrooms, teachers force-feed students information while students learn by rote memorization. (The monotonous process along with endless pressure from exams shaped the Chinese school into a symbol of anguish and torture.) After studying in the USA, I was lucky enough to experience progressive learning, which emphasizes growth from real life experience. This is what allowed me to develop my personality, philosophies, and systems of knowledge.
However, I realized that Rockaway Park High School and other underfunded NYC public schools follow the same pattern as the Chinese one. I understand it as a result of limited funding and resources, but in the long term, mechanical learning reduces the quality of the educational experience, which doesn’t benefit the school system or lower-income students. I believe with a modest budget, Experimental Design with technology can shape the public school teaching into a more progressive education system. Creating temporal and flexible structures with projected media can alter perceptions about the educational experience, prompting closer associations with experimental learning rather than behavior-based models. Structured to achieve an open, airy feel, the installation aims to excite and re-energize students, opening up their minds to new possibilities. The flexibility it provides will dissolve the traditional learning model and enhance the public education experience. Like Governor Andrew Cuomo mentioned in one of his coronavirus daily briefings: “When we’re reopening schools, let’s open a better school, and let’s open a smarter education system.” I hope my project “Live Learning” for Rockaway Park High School will create an opportunity for underfunded public schools to re-imagine education.
ANTE. Talk to me about site-specific aspects of this environmental and architectural design project at Rockaway Park HS; how did meeting with the community inform your process as you finalized this proposal?
TD. Before the pandemic, I visited the school and spoke with the administrative staff and students several times. Rockaway Park High School is located at the Beach Channel Educational Campus, which is shared by several other schools. Like many underfunded public schools, Beach Channel Campus has a prison-like atmosphere, defined primarily by the dense security technology and numerous security officers. During our conversations, students told stories of the long security check process. The administrative staff mentioned that conflicts between officers and students were a regular occurrence. I factored these considerations into my design for the entrance of the Beach Channel Educational Campus. I conceptualized new stanchions with increased mobility, and they serve as both partitions to curb the traffic flow, and projection screens for multimedia displays. This will channel a better circulation during the security check, while presenting pleasant visual distractions to ease the atmosphere, and offering more privacy for students during the checking process.
After several visits to the campus, I found many empty spaces in this massive building, including a wide corridor and an extra auditorium with a low usage level. These spaces are wasted resources due to the lack of funding and inefficient spatial recognition. I proposed creating additional temporary installations with digital projections to activate these spaces, converting them into new common areas for students and/or alternative learning spaces. These installations can also become an open platform for the administration to stage temporary events for community-building and school wide activities.
ANTE. You yourself have worked as an educator, as you were a professor at the University of Kentucky. How did your own role as an educator working with college students inform your design process as relates to education?
TD.My personal experience of switching between student and instructor has a significant influence on my design process. It helped me develop strong empathy during the design process. I have a deeper understanding of both the learning and educational process, and am acutely aware of the challenges, struggles, and problems facing schools today. For example as a student, I remember my own struggle of enduring monotonous lessons in a lifeless classroom. On the other hand as a teacher, I know the difficulties of motivating students and maintaining their focus. This insight inspired my decision to use projected media, which has great flexibility, or presentation format. With various projected media content and forms to interact with students, the installation can enhance the environment while offering additional ways for teachers to communicate and keep students stimulated.
ANTE. You have studied in China, Japan, Denmark, and the United States. Can you elaborate on how these international experiences have shaped your career?
TD.Studying and living in both East and Western countries increased my sensitivity toward social issues, including education. The chance to observe and compare people, systems and cultural norms revealed the differences and difficulties of each society. Being an artist and designer, my career goals, choices, and expectations have become increasingly interrelated with societal issues. Studying and living between China and the United States made me aware of the differences and similarities between the two educational systems. It informs my intention to produce artwork that communicates my wishes and concerns. Traveling to Japan and Northern Europe broadened my spectrum of global education and expanded my knowledge of design’s power. My project “Life Learning” at Rockaway Park High School is a choice shaped by all my international experience. We live in a globalized world now, and I believe this perspective is crucial for career development.
ANTE. Walk us through the career highlights that have marked your exceptional rise as an architectural designer – including your award winning commissions for the Gatton College of Business and Economics in KY (2016) and more recently the Best Team of Wanted Design Competition (2019.) What about your practice, do you feel, leads to your continued success and recognition in the field?
TD.When I primarily focused on painting, my paintings were collected by several well-known hotels in China, such as Fairmont Pace Hotel in Shanghai and Tianjin Crowne Plaza. After coming to the states, I became more involved with installation art. I completed small commissions for site-specific installations, such as the ‘Fence’ I created for the Lyric Theatre & Cultural Arts Center — a translucent photo wall that cyclically sculpts sunlight and shadow to create a sensory experience. Winning the glass design competition of Gatton College of Business and Economics was important to me. The project ‘Tally Mark’ is not only an award-winning achievement, but a successful example of how fine art and spatial architectural design can be combined. Tally Mark is an art installation that introduces the ancient Asian counting system into a western financial college. It establishes a diverse cultural atmosphere while serving as a spatial partition to maintain the independence of both private and communal spaces.
Tally Mark inspired me to continue exploring projects that combine fine art and architectural design. Three years later, I participated in the Wanted Design competition following a similar trajectory. Five designers from different countries spent five days creating a community engagement project. My project ‘This is Not Stair’ is a site-specific installation that alters the walk route to bring enjoyment and engagement to the monotonous pavement walking experience. This project won the competition and was featured in Core77 Magazine.
I wouldn’t say there is one specific aspect of my artistic practice that leads to success or recognition. But maintaining a sense of connection to the world and society is fundamental to my creative process.
Encountering “Elements of Perturbation” atThe Border Project Space, a solo exhibition by Magdalena Dukiewiczcurated by Jamie Martinez, the materials forming this installation present a dizzying dance on the senses. From the earthy inhalation of sod greeting visitors to the visceral transluncency of the installation, the tent-like structure anchoring the space presents a show that serves as a veritable movable feast for the senses
Artist Magdalena Dukiewicz has presented that rare feat of marrying circumstance and concept: an installation based on the impossibility of permanence placed firmly in dialogue with a time of upheaval. This show arrives in the most ephemeral and mercurial time period in recent memory, when a viral pandemic has uprooted the lives of citizens of the world. Thus, an exhibition reflecting in part on the transient nature of immigration is placed in contrast to a time period holding citizens the world over in a shared uncertainty, yet clearly placing certain immigrants into situations of increased vulnerability (for examples, see increased vulnerability of immigrants held at detention centers in the US, and the recent announcement by the current US President that ICE willdeport students who do not attend in-person classes at universities this Fall.) The artist has managed to presciently respond to one of the most dire moments for immigrant rights in recent memory.
The artist herself reflects on the domestic and social roles prescribed to her as a child growing up in Poland. She recalls spending time in a temporary play structure she built with her sister when she was young. Dukiewicz notes, “The concept of a house is based on a portable playhouse made of textiles that I had as a child and explores how “playing house” and practicing social roles at an early age has been adapted in my adult life. ” She also reflects on how materiality is embedded, for her, within the conceptual realm they engage in dialogue with. Thus in order to create a conversation around uncertainty, materials like sod were incorporating – even surprising the artist, when seedlings of grass began to appear in the temporary installation structure.”The use of impermanent materials and incorporating and dissolving my DNA with and within them add to the idea of temporality and imperfection,” she reflects. “[Specifically] the house, like the other pieces, will transform, eventually collapse, then disintegrate and disappear, but the process and its traces are my way of leaving an imprint in the world. “
The Ph.D.-candidate artist, who holds an MFA from the Academy of Fine Arts (Warsaw, PL) and an MFA, Complutense University (Madrid, ES,) produces her works in a site-specific manner, considering how specific spaces and spatio-temporal considerations can demand necessary alterations and adaptations. Within this conceptual framework, the artist was also forced to reconsider the pandemic interrupting access to this solo exhibition. Confronting the pending feeling of hopelessness encountered by us collectively as a society, she provides a space that instigates a moment of rumination—an individual and collective reflection—for the human species to “regroup, rethink and adjust to a new reality.”
Closing on Saturday, July 11 at The Border Project Space in 56 Bogart, Brooklyn in socially-distanced visitation from 5-8 pm, “Elements of Perturbation” mounts a multi-sensorial dialogue around the places we are allowed to enter, inhabit, and exist, and how identity and location continually inhabit a relatioship of tension with one another.
ANTE mag is focusing on ten projects that span creative disciplines and seek to build wider community ties between creative disciplines in our new series of interviews 10xCommunity. Featuring artistic projects, community-building initiatives and interdisciplinary platforms, ANTE is sharing these interviews on the mag and across social media that spotlight these endeavors through the current social crisis to pivot to sharing positivity and uplifting creative news to our audience. Wavelength was founded in 2015 by Gianluca Bianchino and Jeanne Brasileand serves as a catalyst in the growing conversation between art and science. We touched base with the two curators to learn more about their “Pandemic Projections” initiative in the wake of CoVid-19.
ANTE mag. For 10xCommunity, ANTE is specifically featuring projects that somehow respond or have shifted in relation to Pandemic Projections – can you share with us how this initiative began and what it was started to address/achieve?
Gianluca Bianchino. The project began somewhat serendipitously and with modest intentions. Back in early April, Jeanne, who’s an active curator and gallery director, was compelled to project ambient video of a coral reef onto the 70 foot wide façade of a commercial building across the street from her home. It was merely play by a restless curator without a physical space due to the pandemic. The effect she was hoping to achieve was the transformation of the building into a large aquarium in the middle of a mostly quiet residential neighborhood for the purpose of activating an unusual space for a night or two. She shared an image of her projection with me. At first I thought it was a good thing to do and there was something visually striking about it. It seemed to be the perfect time for experimenting anyway. All alone in my studio in Newark, New Jersey, I enjoyed the result but I didn’t think much of it that night other than the playfulness. In those days, in the midst of all the negative news we were receiving at an alarming rate, I was thinking about my mother in Italy, who’s elderly and living alone in the country hardest hit at that time by the pandemic, and the daunting prospect that the wave was coming our way. It was disconcerting to know the only help I could lend to her, my family, and my friends in the old world, was a phone call. Suddenly, through social media I saw something really amazing taking place on the balconies of Italian cities, particularly in the south, where ancient forms of folk music have been experiencing revitalization over the past two decades. People were mostly playing hand drums, known as Tammorra, across balconies creating synchronized, spontaneous music. These were real world creative acts that allowed communication – without disrupting social distancing guidelines. It occurred to me that there was an opportunity with video projection in the real world, and with the assistance of social media, to generate a similar experience here. I proposed to Jeanne a program featuring projections by different artists. The thought had probably already crossed her mind and it instantly became an opportunity for our ongoing curatorial collaboration, Wavelength, to explore curating on the fringes of the art world.
Jeanne Brasile. Once the project developed more clearly in our minds, I realized that presenting the screenings on social media via live streaming would exploit the more positive aspects of the platforms. It was also crucial that the tools we needed to present these video screenings publicly, and to a wide audience, were built into the functionality of both Facebook and Instagram. I like the idea of using social media as a curatorial and artistic stage to bring artists, curators and audiences together in a meaningful way that is interactive – like a virtual happening. The participatory aspect of this format is where I discovered the most value in terms of a creative response to social distancing and the isolation I and others felt during this time. There was a need which we addressed with a rapid response in a fun and experimental, yet critical manner that brought people together. #pandemicprojections is an outgrowth of my interests and experience curating social interventions which I have been doing on and off for roughly 10 years. I was also thinking about space as a curatorial medium and was intrigued by the challenges and potentiality of curating projected digital video, cast onto a built environment in a social media setting.
ANTE mag. What about the projected image compelled you to begin featuring artworks in this format?
GB.A few days later I was personally onsite when we ran a second test projection using one of my own video works, Momento, which features flocks of starlings. The realization at that moment was that video art would not only look stunning on the building façade, but it could even have the capacity to obliterate the flatness of the wall with an experience of deep space, as if the whole building was now merely the container for immersive virtual dioramas. There was something metaphysical about the effect and it was confirmed when we started projecting videos from various artists, some of which exhibited landscape features such as horizon lines and perspective. We began documenting the projections from slightly elevated vantage points. The results were always beautiful and surprising. In the case of Alessandro Brighetti’s Smokeoscene it is especially astounding how his image of perspectival plumes of smoke mirrored the dramatic sunset taking place right above the building.
JB. Yes, I definitely thought about the idea of the building as a container, which we discussed at length. I was also interested in creating an alternative to a physical exhibition, which was not possible during this time, and bringing art into a more public sphere, both physically and virtually. I like the idea of democratizing the art experience and the attendant potential for unscripted possibilities – with neighbors, the local police department who came by to view the work one evening, and drivers who stopped their cars and treated the street like an impromptu drive-in theatre. I like that our audience participates in a variety of ways that are self-determined and meaningful to them by virtue of their type of participation – whether in the real world or on social media. We’ve had people anticipating the screenings, joining us each time, others happened upon the events by chance. I also really enjoy the way many of the videos interact with the architectural features of the building, which would never be possible or acceptable, in a traditional gallery environment. Many videos take on new meaning in an out-of-doors setting as well as the context of being shown during the pandemic. One of the most unanticipated aspects for me was how the messaging functions on Facebook and Instagram were embraced by our audience members immediately, who built a community by showing up weekly, asking questions of me, Gianluca and the artists, and who began conversing among themselves during the events and beyond. This is extremely gratifying. I feel we have accomplished our goal to overcome social distancing and bring people together. It all depended on our audience to make it happen and they oblige, very enthusiastically.
ANTE mag. How have you found the artists for these projections?
GB. We began with Jeanne’s idea of reaching out to Kati Vilim, a colleague and friend of ours who we have worked with numerous times. Kati is a geometric abstract painter also working in video and installation. She is also very open to experimentation, so we knew we could rely on her to kick off the series. On the first night of #pandemicprojections we featured a 16 minute video loop of Kati’s images which were generated by an algorithm. Her work is a fine combination of three-dimensional illusion and flatness. Both these aspects worked great and gave us a sense of the contrast needed in any given video to achieve a satisfactory result. At that point we felt we had enough material to begin properly advertising the program on social media as well as emailing a selection of artists we knew personally whose work might be a good fit. Still, despite the enthusiasm, realistically we thought we might have one or two nights of projections overall. The response from both our invited artists and open call has been exciting and steady. We are now going on ten iterations, with an average of four featured artists per night.
JB. We also got lots of referrals from artists on social media, artists that showed their work in #pandemicprojections and a few of my curator friends gave us some leads as well.
ANTE mag. What type of demand for art do you see this project addressing?
JB. I see many important needs addressed by #pandemicprojections. First is the need to continue curating and developing exhibitions in a time when all shows and activities were unexpectedly ground to a halt. I wanted to create opportunities for artists and the communities I work with, as well as satisfy my need to actively curate. I had to find a way to bring a community together in ‘real time’ like we are able to do in a gallery, an art opening or similar cultural events where people gather. I also have a desire to push the boundaries of curating, and I am always thinking about ways to advocate for artists while serving community. This project concomitantly satisfied these multivalent needs. With the live streaming, it forced me to get out of my comfort zone and become part of the spectacle by ‘performing’ the screenings with our narration and conversations with the artists and audiences, while allowing me to concomitantly extend my curatorial practice into new, experimental formats that I’d already been interested in. Without the narration and participatory components, the screenings would have been a passive experience which would not have, in my estimation, contributed anything and I really wanted to use this time of crisis to as a challenge to create something unique and meaningful for everyone involved.
GB. Since the pandemic began institutions have had to reimagine their programming. There have been numerous virtual tours of galleries, collections, and studio visits and presentations via video conference, as well initiatives by groups of artists-supporting-artists on social media. These were all really helpful ways to keep the dialog about art moving forward despite the stagnation. I intended to be a spectator and an occasional participant in the online discussion when invited. However, #pandemicprojections presented a timely opportunity to show art in the real world while holding a forum about the work via social media live feeds. For me, there was something suddenly odd about showing art outside the matrix of the internet. I didn’t know if there was an actual demand for it but we were curious to find out. In order to comply with social distancing guidelines we have discouraged participating artists and audiences to attend the event in person. However, the fact that it is happening in the physical world requires the viewer to fill in the experience. There’s something phenomenological about the aspect of knowing the screenings are taking place while not being able to witness them in person. It reminds me of astronomers studying black holes. They determine their presence not by the hole itself but by the behavior of everything around it.
ANTE mag. How do you think the current virus pandemic has affected art production?
GB. From what I can see through art shared on the internet and discussions I’ve been having with colleagues in the US and abroad, it seems that artists who have had access to their studios, and have been able to float financially one way or another throughout this period, are actually thriving in terms of production, and that has not surprised me. We artists and creative thinkers are for the most part genetically built for this type of seclusion. My impression is that two-dimensional art is really booming at the moment given its natural compatibility with the flat screen from which it is being experienced. I am curious to see how sculpture will revive itself in the post pandemic era. In a way, I think of #pandemicprojections as a means for creating a three-dimensional experience employing two-dimensional art. If a curator is also an artist in the way they craft an exhibit, then that is the dimension we may have added in bringing all of this work together.
JB. Though artists may have had to adapt due to working at home or losing access to their studios, artists are incredibly resourceful. They will always make art despite creative hardships. I think the real transformation will occur not among artists, but among the sales, consumption and distribution ends of the creative chain. How will galleries, museums, auction houses, collectors and dealers move forward? The idealist in me thinks that perhaps the pandemic will equalize some of the inequities and excesses in the art world. The pragmatic part of my brain argues back that this crisis, like the last economic downturn in 2008, will only further entrench the disparities that exist. I wish I could be more hopeful.
ANTE mag. As artists, how has this moment affected your own practice?
JB. I was making major progress on my art despite the lack of space since my kitchen was doing triple duty – having been split into a home office, and studio in addition to its usual functions. Fortunately, I have a large kitchen, so it isn’t too chaotic. I finished 2 pieces in the first week or so, and began working on a third. That is a quick pace for me. Once I committed to #pandemicprojections, progress in the studio proper slowed down. That is okay since I am very committed to the project and right now there is more of a need there. People really look forward to the screenings and their social components. Right now, the studio seems insular at a time when I see people craving community. Once we wrap up the screenings, I think I’ll get back some momentum in the studio. I have a lot of pent-up ideas and I’ve been doing lots of day-dreaming, journaling, reading and sketching I can draw from once I get back to art-making.
GB. I have been an artist for 25 years and I never experienced a creative block. If I were traveling and without a studio for a while, I would make video art. But I have actually not made much art since the pandemic despite feeling confident about the trajectory I was on with my studio practice. I don’t think of it as a creative block but rather a conscious choice I’ve eased into. And yet, I am lucky to be spending more time in my studio than ever and there are occasional experiments that I undertake. I think #pandemicprojections has occupied my creative space and delivered, so far, great results. What started as play turned quickly into one of the greatest creative responsibilities of my career. And while the curtain is slowly but surely closing on this endeavor we may unveil soon one more final chapter related to this project.
ANTE mag. How do you see pandemic projections evolving post-CoVid19 pandemic?
GB. Like any creative person experiencing the making of good work, the work itself takes you by the hand and leads you to uncharted territory. Any artists aware of such a seductive lack of control will tell you they can merely nudge the work in a certain direction but the wave that sweeps you is beyond you. #pandemicprojections has been somewhat like that despite the added responsibility of interpreting a collection of works by other artists. We have been recently approached by an arts organization to take the project to a drive-in format for a one night collaborative event in which we’ll aim to feature all the participating artists – while welcoming a physical, albeit socially-distanced, audience. We had a promising meeting and only a set of practical or legal logistics beyond our control could prevent the event from happening at this stage. It would be a fantastic way to conclude our program. Fingers crossed! As for the post Covid 19 era it is difficult to say. The project will cease soon and will be reconsidered in the eventuality of a second wave of the pandemic later this year, but for the most part we are really in the moment.
JB. #pandemicprojections needs to culminate in a public screening which Gianluca mentioned. We’ve created a community and there is a demand to be together in real time and space that cannot be denied. I can’t wait to be able to host a screening with a live audience, showing all the videos in one night. Though we won’t be able to join in a large group, I think the physical proximity and aspects of a ‘drive-in’ format will assuage some of the pent-up longing to be together. I envisioned this to be a finite project from the beginning – meant to address a specific need. When the world opens up again, the need will presumably no longer be there. Then we’re off to the next project…
On Thursday, June 11th,the final installment of Pandemic Projections will be live from 9 pm EST on the Instagram accounts of Jeanne Brasile and Gianluca Bianchinowill be hosting this last event, featuring artists:
and Gianluca Bianchino . Tune in for this last chance to explore intervention art in the tri-state area during the CoVid-19 pandemic.
Wavelengthis a curatorial collaborative founded in 2015 by Gianluca Bianchino, an artist/curator, and Jeanne Brasile, a curator/artist. Their projects explore the relationship between art and science via immersive exhibitions, interviews with artists/scientists/curators, artists talks, critical writing and symposia. Wavelength takes part in the growing conversation between art and science, particularly in the realms of physics and astronomy. Wavelength’s curatorial practice considers phenomenological art informed by scientific principles – concerned more with manifestation than representation.
An Interview between Audra Lambert and Eileen O’Kane Kornreich
Our current dual American crises of pandemic outbreak and social inequality are both eerily present in this visceral body of work I encountered by artist Eileen O’Kane Kornreich, “Mortality Path.” The series is open to viewer interpretation as the artist depicts the site of Washington Square Park, a space that has served various functions over the years: a place for organized protest, leisurely strolls, farmland, and a burial ground. Kornreich presents scenes from this locale not with realistic details but charged with facets of the various histories that compose the elements of the site itself.
I first became aware of this series a few months ago, when I met with the artist after encountering her current body of work, “Creatures,” which explores concepts related to the “Gilgamesh” epic. The artist’s powerful dual approaches contrasting the historical realm of Myth against the personal myths we build around our own lives intrigued me, enticing me to learn more about her past body of work. Encountering “Mortality Path,” it became clear that Kornreich invested significant time in researching the purpose of this site throughout New York City’s nearly 400-year history, particularly as it relates to the settlement of Manhattan as it spanned northward from its origins in the current Financial District. The artist charts her engagement with the site from a personal level as someone who frequented the park, diving into its secrets and hidden history in the wake of poignant personal grief she was experiencing during the time period that this series emerged. Kornreich observes rather than comments: she views the psychological aspects of the park’s trajectory, tracing the multi-layered history informing the experience of walking paths along the northwest corner of the park. I sat down with Kornreich for this somber and reflective journey through grief, contemplation, and the intractable pall that past histories indelibly cast on our experience of the present moment.
ANTE mag. Walk us through the origin of “Mortality Path” and your early foray into capturing the vistas of Washington Square Park, how did this space first attract your attention and inspire you to begin work on this series?
Eileen O’Kane Kornreich.After my husband died early 2015, I had been thinking of our mortality and how we humans manipulate the natural world and ritualize our deaths. Death of a beloved brings one down memory lane, and I found myself digging out work from forty years earlier. In the late 1970’s I went through several years of painting landscapes. I was charmed by one oil of the trees out of my studio window. Everything I loved and lived with during those years are dead: the dog, the boyfriend. Everything gone – but not the trees. I drove to see them, still outside that window, the dog buried not more than twenty feet away. I thought of trees and burials, like burials in Indonesia where they inter dead babies in a ritual where they and their spirits are absorbed by nature, which I believe is lovely. I thought of all the markers for our dead, all the bodies moved into catacombs, then I reminded myself of potters’ fields. There are thousands of dumping grounds for human remains; we walk on them daily and are unaware. Washington Square Park’s northwest corner is something I am very aware of and that is so centric to our city and country’s history, yet there are no markers for all those people.
ANTE mag. The theme of this work is site-specific, dwelling on a certain location: The Northwest corner of Washington Square Park. Are you drawn to working with spaces and their layered histories? Why or why not?
EO’KK.This was a first [for me to use a particular site.] This is so specific a site: fifty to two hundred feet of a site. It was not a conscience decision to use a small-scale location. It was a conscience decision to use a mammoth atrocity to over tens of thousands of people, acknowledged. These bodies that were dumped, hidden, ignored, and historically expunged and that one American Elm onsite who saw it all and is still alive. That’s the story.
ANTE mag. You note that in this body of work that you build… “from society’s constructed beauty that masks atrocities below.” What about this contrast compelled you to create these artworks?
EO’KK. There are several written histories of the what and why of the potter’s field in and around what is now known as Washington Square Park. New York City has records of purchasing sections of the eastern side of the park for a potter’s field in 1790s. At that time, this land was already used by several African churches located near that same land when this area was farmland owned by freed slaves. The city has notes of the bodies dumped in the north west corned on the banks of the Minetta Creek: this was an area, again, long in use by the native population. This undesirable area was partitioned off to native peoples, freed slaves and rogue New Yorkers, The English and Dutch, then reclaimed as a potter’s field – can you imagine? I imagined then and still to this day, all the bodies laid or splayed, then topped with fill for years as the pandemic raged during humid summers or a citizen was murderer. A few decades after the last of the stink and vermin had died off, only then a military square is constructed for pageantry around the square mansions that have since been constructed. Imagine bunting and flags and shots of rifles children playing in and around where just a generation ago lay the bodies of a putrid death, some named some not, thrown into a ditch. We have a similar situation to this now at the area near World Trade Center: different, clearly, in terms of intent, but so many go about their day and eat lunches over the bodies of those killed in 9/11. Across the street is an African burial site that just received its historical plaque. And so, it goes, it’s all around us.
ANTE mag. These works feature emotionally charged colors, and the strong use of perspective in these works creates a sense of heightened anxiety and alienation. What are some of the emotions present in these works and why?
EO’KK. Emotionally charged color is my grammar, the construction of my visual language. While making these drawings, I am aware that I’m in a graveyard, that there is death beneath my feet – it brings to mind my husband’s graveyard in Valhalla, NY, which is gorgeous and shows diversity across its many sections, yet beneath these graves are even older burial sites of native peoples, settlers, anicent beasts….these layers of history continue endlessly. With Washington Square Park, that one particular corner has never had a plaque until they put a plaque at the arch noting that in the 19th century, ten African wooden caskets were placed at this site in 1850. But that begs the question of why these freed men and women of color were in this site, which at that time was still relatively undeveloped? Early settlers had no qualms about using free slaves as a buffer from native people’s attacks on first the Dutch, then the English took over. This is a part of our history we can find if we dig through the layers. There are many perspectives in the park, off in one area you can even watch the light bouncing off the distant Hudson River, even noting a small square where you can see New Jersey. These photos were taken during walks in the winter and there is refracted light, light shining on in the darkness. This is my contemplation on color and perspective: how it’s read or absorbed by the viewer is for them to tell that story, I’ve told mine.
ANTE mag. The presence of trees is palpable in these works: what meaning do these park trees have for you, metaphorically, in this series?
EO’KK. The four-hundred-year-old American Elm in the Northwest corner of the park is a monument we locals call the Hanging Tree. That is my leading lady. If she could talk, she would set me straight. She would tell the burden of the dead and dying, and hangmen alike. The other trees, the recent plantings by our wealthy society, those represent the frivolous, the pageantry, the amnesia of a city wanting to not remember or know what they did, what happened in the past.
ANTE mag. Can you explain your process in creating these compositions? For example, did you photograph the site from different angles then draw those with pencil on paper? Did you create these works en plein air?
EO’KK. While in the park, I photograph a path, a tree. I take upwards of three hundred shots with my camera and print what is valid to my eye. From these I construct a photo-collage of multiple perspectives, giving me a 360-degree view of a tree, shadow or path. It is a very cubist drawing which arises from the collage. I create the base drawing in pencil. From the base drawing, I work with acrylic, conte crayon, pastel, crayon and graphite to build the finished work.
ANTE mag. You reference that these works recall “mysterious dreamscapes of nature.” Can you elaborate on that sentiment in relation to this body of work?
EO’KK. Once I start layering color with crayon and pastel the hard cubist edges are removed, and the multi-perspectives become one trippy, mysterious landscape.
What happens when we die? Every person who has lived during the age of reason has thought of the why’s and where’s of the afterlife. Does the answer lie with a god or gods, or spirits, or is it science? Why are some deaths celebrated and interred in strong, elaborate shrines while others are burned on a river or dumped in a marsh that becomes a celebrated park a few decades later? That’s just luck. My deeper thoughts are what happens after our internal light is out.