The Art of Materials

This exhibition brings together artists who are working with paper, fabric, industrial felt, metal, steel, cement, clay, plastic, cork and wood. Some of the artists combine disparate materials that embody imaginative content or reuse materials that create symbolic forms. Others opt for a single material that gives full voice to their artistic expression. The Art of Materials exhibition has two major questions which are the central topic of consideration: why an artist chooses the material used in their artwork and how the selection of that material reflects what the artist wants to say.

Many thanks to the curators Vicky Kumpfer and Lisa Lightman for putting together this exhibition. I am honored to be a part of it.

Opening Reception is Thursday, May 9, 5:30 - 7:30.

I will be participating on the panel discussion for the Art of Materials exhibit on

Sunday, June 9 from 1 - 2:30

Surface Mining

“I think there is no innocent landscape, that doesn’t exist.”

from Anselm Kiefer’s Relics of Violence

It’s already been two months since my return from Cill Rialaig, the artist retreat on the Iveragh Peninsula of County Kerry Ireland.

I went with artist, Catherine Richardson, to collaborate on Materiality, Re_Mined, a project we initiated in response to the call for action proposed in Extraction: Art on the Edge of the Abyss. The event slated for 2021, envisions worldwide participation and simultaneous showing of artists from around the world concerned about how “We are recklessly modifying every feature of the planet surfaces.”

We mostly worked independently guided by our own inspirations and impressions of the place except when we took field trips to mines and quarries in the area.

In those two months since my return, I have been working with some of the materials of Cill Rialaig that I discovered—as it was an unfamiliar source place with its own unique aura seeped in a difficult history with remains and remnants of a time.

My hope was to extract from what was there. What were those materials of this place that spoke to me?

With a predilection toward stones and wind worn landscapes, I was at home surrounded by stones & rocks—the cottages, boundary walls, ruins, standing stones. A spectacularly beautiful place with memories in these stones—trace fossils that marked a past.

If the stones could talk, what would they say?

No words but textures to touch and feel. In preparation for this residency, I extracted pages from mining books. Here I found a place to use them by backing them with wheat paste and using the rock shapes from the wall to mold them. The stone wall shaped the pages and held the art.

Trying to keep warm in a cold place:

At Cill Rialaig, a prefamine village with 19th century ambiance, I was far from the world I knew without the distractions of the 21st century—internet, iPhone, daily news.
Instead I was preoccupied with keeping warm. No central heating, no insulation and cold stone walls & a slate ceiling. The turf eater (an Irish term for the wood stove) became my focus as it consumed the peat, the fuel used here. Discovering that peat was so fast burning, I found that the stove required vigilant attending to ensure uninterrupted warmth.

I went through many bags of peat and accumulated many pails of ash. So it became a material to experiment with in its various forms of brick, charcoal, ash and ink.




BIBLIOPHORIA V

OUTWITH

will be part of Sebastopol Center for the Arts exhibition

BIBLIOPHORIA V

June 22 through July 29, 2018

Opening Reception:  June 22, 6 - 7:30pm

 Sebastopol Center for the Arts
282 S. High Street, Sebastopol, CA 95472
Gallery Open Hours:  Tuesday to Friday 10 - 4 pm Saturday & Sunday 1 - 4 pm

Outwith, 2016.  Four mixed-media constructions: book covers, board & cloth, birch panel.           24 x 24 x 3.25 inches

Outwith, 2016.  Four mixed-media constructions: book covers, board & cloth, birch panel.           24 x 24 x 3.25 inches

"Explorations with Urauchi" at Pyramid Atlantic Art Center in Silver Spring, Maryland

   

 

 

 

 

 

 

I have been invited to teach a workshop at the Pyramid Atlantic Art Center outside of Washington DC this summer.  The description of the workshop is online under  "book arts" and you can enroll by visiting:

http://www.pyramidatlanticartcenter.org/art_programs/register/index.html

More about the class:

Explorations with Urauchi

a Japanese method of backing paper to cloth and/or paper

August 8 & 9,  10am-4pm

Urauchi is a procedure of pasting a paper backing onto cloth or paper using only natural fibers. Traditionally, this method was used to mount Asian scrolls and cover books.  Once backed, cloth and paper have more body and strength and are much easier to manipulate. The backing also provides a protective layer and prevents glue from staining the cloth when covering books.

In this workshop, participants will learn the simple procedure.  However, the focus of the workshop will be experimental and hands-on, exploring it as an art medium. On day one, a variety of materials will be sampled, treatments tried, and materials sandwiched between.  On day two, participants will make a sampler book with their experiments.