“I was interested in it because of the economy of a line, making something in space, enclosing it without blocking it out…It’s still transparent. I realized that if I was going to make these forms, which interlock and interweave, it can only be done with a line because a line can go anywhere.”
A link to her NY Times obituary:http://www.nytimes.com/2013/08/18/arts/design/ruth-asawa-an-artist-who-wove-wire-dies-at-87.html?smid=fb-share
His work: http://www.tomsachs.org/works
The Colossal: http://www.thisiscolossal.com/
Contemporary Art Daily: http://www.contemporaryartdaily.com/
Design Boom: http://www.designboom.com/
Materials: wooden table, cords, tube TV, VCR, VHS tapes – made using Crayola-brand crayons
The streamlined viewing of massive quantities of digital images has become commonplace. The internet has created an efficient way to consume disparate images within platforms such as Tumblr or Instagram. I am interested in the way that my paintings can fit into that dynamic. The idea of optimizing a painting for it’s inevitable appearance on someone else’s screen makes sense to me. Although, it is equally important to me that my paintings retain their identity as physical objects in the world. In many ways the works in hyperfocus are an attempt to reconcile and come to terms with this dual nature.
The paintings in hyperfocus reference the mechanics of the internet through the use of systems, as well as, through the aesthetics of directional scrolling, frames, and grids. I applied the paint systematically to each surface. This process resulted in the creation of superficial structures and layers. These paintings define their own logic in terms of composition, style, color, and form. Symbols are adopted – combined and reformed into new visual languages. This procedural framework is not static. It fluctuates; inhaling and exhaling as it repeatedly constructs and deconstructs itself.
There is an underlying uncertainty about this way of working. The resulting state of flux creates a physiological experience, a sort of temporary disorienting trance, and a fleeting moment where the mind is at the mercy of the eye’s perception. Such structures build experiences rather than specific representations.
The skin, as it creates new cells, moves layer after layer of old tissue, up through the epidermis, where it dies and is shed. Every 28 days the human body goes through this complex process in order to replace itself entirely. In this span of time, we create completely new surfaces for ourselves. In many ways, my creative processes are in imitation of this complex system and the body’s constant need to create new layers of cells to thrive.
The intent of this work is to create organic objects and patterns in order for us to experience and contemplate ourselves at our most superficial and intimate states: the surface and within its walls.This line of work began first and foremost with my passion for science and biology at a young age. Having the experience of looking under the microscope at my own skin cells revealed a world that was foreign but also essentially vital.
The difference between the outer appearance and inner workings of my being created an experience of disillusionment. We experience the world through our bodies’ complex processes and I became impassioned to understand them, as well as, myself and others around me. At times, I consider that these pieces are in the realm of portraiture, only at its smallest state.
The use of cut paper, thread and fabric in my work is one that is purposeful and symbolic. These organic materials speak to the nature of the body which is that they can be both delicate and strong or durable. I hope that through these materials and the use of vibrant colors, one can feel the characteristics they share with the work and feel a surge of vitality upon viewing them.
Bustling traffic, fast food joints, and big box stores. We move in perpetual motion on paths predetermined by the commercial nature of our lives. Our cars travel in lines like ants marching to and from the nest. Litter, remnants of our consumerism, becomes the cultural artifact left behind in parking lots and on the sides of roads. Disposing of these artifacts is part of my job and eventually, after hours spent collecting and removing litter from parking lots, it occurred to me to use some of these cultural artifacts to create something wonderful.
Insects fascinate me — their segmented bodies bring to mind something that has been created in a bizarre toy factory. Crafting bugs from the litter I collected makes me feel like a mad toy maker. The idea that mundane, discarded bits of trash could be given new life in the form of a buzzing wasp or a fluttering moth is magical.
Because we are constantly bombarded by advertisements, I choose to remove the product labels when I work with found materials. The act of sanding down loud commercial branding can be very therapeutic — becoming a master rather that a victim of consumer advertising. The sculpture transforms the distasteful realities of everyday life into a pleasurable world of fantasy.