Tag Archives: sculpture

Time Out

I’m taking a bit of a break this week but I discovered some wonderful art that I am sure you will want to see.

I love it when I come across work that is unexpectedly joyous and which underlines that it’s not necessary for art to take itself too seriously in order to make a viewer think. The following artists’ work hinges on a mixture of reframing perception, humorous visual play, and incongruous materials. I hope you enjoy it as much as I have. The artists’ names below link to their websites so you can view more.

Erik Johansson Photography –  be sure to also explore his videos. And you can read further here.

Erik Johansson

Cut and Fold © Erik Johansson                                                               Used with permission

Classical Sculpture in “Hipster” clothes, Photographs by Léo Caillard. Read and see more of these wonderful images on Resource Magazine Online.

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© Léo Caillard                                                 Used with permission

And finally, don’t miss Hirotoshi Itoh’s Stonework: Pleasures of Paradox (click on Sculpture 1 and Sculpture 2). His pieces will delight you! More photos and background information are available in this article.

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© Hirotoshi Itoh                                                                                  Used with permission

Grab a cup of tea/coffee, put your feet up and join me in taking a breather and celebrating creativity. I’ll see you next week.

A “Top Ten” for All of Us

In my reading this week, I ran across what amounts to a “top ten” list of ideas for artists that I think merits sharing. I hope you will agree.

TERESITA FERNÁNDEZ:  Fire, 2005 silk yarn, steel armature, epoxy 96 x 144 diameter inches 243.8 x 365.8 cm In collaboration with The Fabric Workshop and Museum, Philadelphia Collection San Francisco Museum of Art

Offered as the concluding advice in sculptor Teresita Fernández’s 2013 commencement address to the graduates of Virginia Commonwealth University’s School of the Arts (her alma mater), she speaks from a place of humble accord with the young artists she is addressing. Eschewing the usual platitudes often shared at such an occasion, Ms. Fernández instead acknowledges, among other  lessons, the power of failed attempts and useless knowledge.  She elaborates on the distinction between the inside and the outside of success in a way we can all appreciate and understand, underlining that being an artist stretches beyond what is accomplished in the studio; all facets of one’s life will be reflected in the resulting art.

TERESITA FERNÁNDEZ:  Night Writing (Hero and Leander), 2011 colored and shaped paper pulp with ink jet assembled with mirror 49.21 x 66.14 inches (work), 125 x 168 cm 55.25 x 72.25 x 2.75 inches (framed), 140.3 x 183.5 x 7 cm Edition of 1 In collaboration with Singapore Tyler Print Institute

For me, the most appealing aspect of this list is that it’s not just for those who are starting their career; it is fully applicable regardless of how long you have been at it, your age, your level of success, or your geographical location. I truly appreciate how “down to earth” these maxims are, reflecting the humble and inclusive nature of Ms. Fernández’s approach, in spite of her vast accomplishments and the prestigious awards she has received. What a breath of fresh air!

If you’re interested in reading the full address “On amnesia, broken pottery and the inside of a form” click here.  It’s well-worth your time.

But for now, here is her list of 10 practical nuggets that have assisted her, and will hopefully benefit the rest of us as well. I have my favorites that will be tacked to the wall of my studio, I wonder which of these will resonate with you.

TERESITA FERNÁNDEZ:   Ink Sky 2 (detail), 2011 anodized aluminum black mirror, hooks, rhodium plated chains, galena rocks 34 x 96 x 132 inches 86.4 x 243.8 x 335.3 cm Edition of 2

1. Art requires time, there’s a reason it’s called a studio practice. Contrary to popular belief moving to Bushwick, Brooklyn this summer does not make you an artist. If in order to do this you have to share a space with five roommates and wait on tables, you will probably not make much art. What worked for me was spending five years building a body of work in a city where it was cheapest for me to live, and that allowed me the precious time and space I needed after grad school.

2. Learn to write well and get into the habit of systematically applying for every grant you can find. If you don’t get it, keep applying. I lived from grant money for four years when I first graduated.

3. Nobody reads artist’s statements. Learn to tell an interesting story about your work that people can relate to on a personal level.

4. Not every project will survive. Purge regularly, destroying is intimately connected to creating. This will save you time.

5. Edit privately. As much as I believe in stumbling, I also think nobody else needs to watch you do it.

6. When people say your work is good do two things. First, don’t believe them. Second, ask them WHY? If they can convince you of why they think your work is good, accept the compliment. If they can’t convince you (and most people can’t) dismiss it as superficial and recognize that most bad consensus is made by people simply repeating that they “like” something.

7. Don’t ever feel like you have to give anything up in order to be an artist… I had babies and made art and traveled and still have a million things I’d like to do.

8. You don’t need a lot of friends or curators or patrons or a huge following, just a few that really believe in you.

9. Remind yourself to be gracious to everyone, whether they can help you or not. It will draw people to you over and over again and help build trust in professional relationships.

10. And lastly, when other things in life get tough, when you’re going through family troubles, when you’re heartbroken, when you’re frustrated with money problems, focus on your work. It has saved me through every single difficult thing I have ever had to do, like a scaffolding that goes far beyond any traditional notions of a career.

TERESITA FERNÁNDEZ: Night Writing Installation view, Lehmann Maupin Gallery, 201 Chrystie Street September 12 – October 20, 2012

 Further info:

February’s Self-Restraint

Last week I began the first stages of a couple of smaller pieces, looking forward to the learning curve that seems to come more rapidly when working in series and the pieces aren’t (hopefully) as time consuming to complete.

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Dye and Paint on Silk, detail   ©Elizabeth Fram

 

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Winter Palette

 I have been thinking about ice and snow – big surprise! – and the gentle depth of tones to be found in each. I love the pared down beauty at this time of year and watching for the subtle changes of color that take place in the landscape.

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The winds were fierce on our hill earlier this week, leaving behind sculpted piles of snow that remind me of Isamu Noguchi’s work. The rounded forms seem proudly self-possessed, nestled comfortably within their environment. They have carved edges that are clearly defined but smooth enough to convey very subtle value changes. The effect is lovely.

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So — how do I transcribe this idea surrounding winter’s visual restraint without being literal? These studies will not be landscapes, but I hope that they will tell part of that greater story. My thoughts revolve around the dissection of the landscape into basic elements; a process of subtraction that distills an image into its essence, with the idea of evoking memory and mood rather than portraying an actual place.

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Dye and Paint on Silk, detail ©Elizabeth Fram

 I recently came across this quote by painter Gerhard Richter which seems to cut to the core of the way I think about existing within my surroundings and the search for a way to express the emotional connection that results.

“Our connectedness to nature and our wish to commemorate life and our place in the universe compels us to describe our physical surroundings and, in doing so, ourselves. Landscape’s compositional and spiritual cues also contain the vital seeds of abstraction and beyond.”

Here’s to the hope that these seeds can be planted and will take root despite our frigid temps.

And to continue with the idea of subtlety and understatement: let me share with you the beautiful photographs of Scott Peterman – a master of the restrained palette. Don’t miss this slideshow of his photographs of ice houses!