OSLO ART AND FASHION FESTIVAL 2017

 

 

STOP BATH, 2017, multimedia installation, images from Memoria Technica, single-channel video, audio composition, at Lekter’n. View Stop-Bath video at FilmEssay.com Interview on Oslo Fashion and Art Festival. Exhibition supported by Epson & Interfoto Norge.

 

 

LEKTER`N, Stranden 3, Aker Brygge 0250 Oslo, Norway kart/map

THURSDAY  Oct 12th  FRIDAY Oct 13th 2017 –  kl. 17:00 – 20:00  SATURDAY   Oct 14th 2017 –  kl. 12:00 – 20:00 

 

 

 

 

 

 

 

Interview from Oslo Fashion and Art Festival Website:

 

Rachel Wolfe (b. 1984) is an American-born artist and photographer, living in Norway since 2015. Her work is realized in mediums of images, installation, drawing, painting, video, performance, and traveling objects. The Print Atelier represents images from Human Needs.

Rooted in disciplines of dance, painting, drawing, piano, voice, Wolfe has been making solo and group projects, working with land, space, light, and photography since 1999. Theories in Chinese medicine influence her work navigating themes of beauty, sense, feeling.

Awards and scholarships include: 2015 First place by the jury, Imagining New Eurasia exhibition in Gwangju, South Korea. 2015 Woelffer scholarship and 2014 academic merit award from Otis College of Art and Design, 2013 Academic scholarship for social psychology study in Matsuyama Japan, 2009 Historic Pathways winner from Indiana State University.

 

Question Answer:

U: Who are you and what do you do? RW: I am Rachel Wolfe I make art considering the site and utilizing materials and images of photography, including light, video, sound, and performance of body.

 

U: What characterizes your work? RW: Sensory dynamics in the nature of desire. Human, felt experiences are important in a bottom-up approach to understanding versus a concept-to-completion mode of working. Beauty services the process in various forms as elements of nature are always in the work.

 

U: How would you describe your personal style? RW: Based on what I am learned about style I would say everything must always be in service of dynamic movement.

 

U: How do your own experiences influence your work? RW: Synesthesia is something I thought everyone has but later came to find out, they certainly do not. I use my sensory sensitivities and route them through a process of omission relative to the site, and to a history I am interested in daisy chaining with.

 

U: What will you be showing at the uncontaminated festival? RW: I’ll be exposing ways of gazing upon a horizon to consider the perception of motion through time. This sense of temporality as a form of continuous movement and how that relates to bodily senses.

 

U: What do you want to communicate through your work? RW: Reverence as an important tool in agency. Trade economics are sometimes spoken of as a force in opposition of life, and in the sense of hurriedness or performance anxiety, one could certainly become at odds with their lives and relationships. My work is demanding in a subtle way of slowing down, that most to gain by giving in to what is working through choices with what’s there. My hope is locating an orientation of intrinsic desire and value-to go forward from an aesthetic experience with an embodied sense of wholeness.

 

U: Do artists of today have some kind of social responsibility? RW: Responsibility is such a rich space for conversation. Artists have the responsibility to keep making work, and to start talking with people in a way that doesn’t create an intellectual paywall.

 

U: What does uncontaminated mean for you? RW: Uncontaminated is an idea about an ideal. For example, the idea of blue blood or a form of purity that in reality is an impossibility. For example, mud is still always dirt. That kind of aspirational dreamstate feels a lot like a mental space one could achieve through traditional forms of meditation.

 

U: What is the most important thing in your life? RW: Being alive.

 

U: How do you feel right now? RW: I feel like having a proper bath. Where are all the bathtubs here (in Oslo)?

 

U: If you could change one thing in the world today, what would it be? RW: Remind people the generative quality of cooperation and the value of a well-considered no.

 

U: What are the main reasons you are joining us for the festival this year? RW: I am interested in art and fashion and want to connect with people to learn about what they desire-what brings people out of their homes to connect with each other in public spaces.

 

U: Who or what do you value as a great inspiration for you creatively? RW: Opposing points of view from books, family, and friends. Paying more attention to noticing phenomena in nature. How many different ways can something I think I’ve seen a million times reveal something new about itself?

 

U: Can you elaborate on an important moment in your life where you experienced a big change, chose to make one or another event which altered your way of thinking or your approach to creativity? RW: Deciding to be the author of my time, which is a never ending dance I still trip over my own footing with. After decades of training, the red thread is making something out of the desire to make and create value in the satisfaction of the making process.

 

U: How does digital and social media affect or inspire your life and creations?
RW: Being prone to affective disorders, I really try to keep an arms distance with the broadcast version of life. I wonder a lot about the ways in which the intimacy of viewing a distant life up close affects psychology and if there could be some kind of epigenetic change relative to the emotional change in media technology.

 

U: What do you define art? RW: Art requires discipline, something that is worked on by an artist and through a diligent practice and vision work is made. Is Duchamp’s urinal art today? No, that was an artefact as a testament of a notion that somehow art is one thing or another-that art is about ideas or feelings or one thing or the other. Art is art. To conflate art as anything other than the word itself services rhetoric or belief-both of which I am interested in being free from. I have a great faith in people and the ability to know. Art and artefact can have a close relationship but they are different. I as one among many people practicing art today may be in a practice of making artefacts more than art, and that’s something I’m always looking closely at within my work as well. Does this diminish what artists are making; I don’t think so. I do find the conversation valuable moving forward.

 

U: What is your definition of artistic freedom? RW: Discipline. Having gone through a phase of coming undone, and going in many directions, I’m in a process of refining.

 

U: Is there a difference for you between art and commercial/commissioned work? RW: Commissioned work has always been easier for me, to work in a dialogue. Making art for myself entails far more responsibility which then requires a lot more time. A few months at a residency can accomplish a lot, but it is still not the same as having years to work on art.

 

U: Do you struggle to find artistic freedom in the span between commissioned work and your personal needs to express yourself? RW: Personal expression is not an area I struggle with or work with in my art.

 

U: What do you aspire to? In the near future? In life in general? RW: Aspire is a great word. I wouldn’t go panting after doing I do though. The question I’m often asking myself now is what is truly essential and can I live with today, tomorrow, and 50 years from now.

 

U: How do you feel art and fashion intervene? RW: Aesthetics and function. The formal qualities of how something looks conveys a great deal of ideas. Aesthetics as signs of ethical choices isn’t a new concept. There’s a lot of value in considering what aesthetic choices are relative to fashion, and then wondering the function, does this work. And if it doesn’t work, ie can the body stay warm, does the systems circulate healthfully, this kind of questions have a lot to do with the intersection of art and fashion. The head and body need not be severed from the other, you know?

 

U: What is a great example of a fashion art collaboration in your view? RW: I cannot look at fashion and not see art. When I see art, I have a desire to somehow become the art I see. I have seen so much incredible and daring fashion and art these past years, I am afraid I can’t call out anything specific right now.

 

U: Where do you think art and fashion is heading in our digital age? RW: People are demanding more from each of their purchases. Less is not more now. More in fewer items is the thing. A lot of the digital future is already available today but not yet on a wider scale. Someone once advised me to invest in black clothing, that this pigment would become rare in the future. For some reason this stuck with me.

 

 


 

RELATIVELY DIMENSIONAL STILL-LIFE, 1919 IN 2017

RELATIVELY DIMENSIONAL STILL-LIFE, 1919 IN 2017, 5 images as a set, archive ink on (13 x 19 inch) digital negative film. Ltd. edition of 3. The candle, a tradition in Dutch still-life painting is realised in CMYK representation of IKEA Interior Objects, as a representation of the way images layer and flow before our eyes on digital screens.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 

TEKNOVISUELL EXPERIENCE

 

TEKNOVISUELL EXPERIENCE, Virtual Material, Public Installation of Detail #5, Otis College of Art and Design Admissions Office, Los Angeles, California, 2017. The artwork engages the relationships of body & space to image technology through the clarity of perceived images. The imaging processes displace and reform pigments and images, creating fuzzy borders. The Teknovisuell Experience series represents images of water as aesthetic and ethical qualities technology raises in our societies.

 

The images in Virtual Material involve several layers in the materiality of the image, systems and processes in imaging, the vision-body relationship, and ways civilisations form understandings of nature. From an empirical, materialist philosophical standpoint, the works reflect on age-old discussions between Platonic and Sophist ideas, and the places spiritual and scientific ideas are permitted. Through the emphasis on the ethereal nature of screen-based technologies, the Teknovisuell Experience Details take-up these conversations both through the processes in which they were created and in the results of the viewers interactions and memories with images. By engaging the physical body with the vision, the distance in viewing engages viewers’ bodies in the opportunity to look at processes otherwise invisible to users of screen-based technology, but evident to builders of technology such as R&D, the coder, manufacturer and marketer. The details in Teknovisuell Experience were composed of the decomposition of images up and downloaded through social media channels; 7 times for each image. The final images reconstitute a representation, highlighting the way images become a form of cultural ritualisation. By further manipulating the image to highlight degraded visual qualities, and print at large scale or clip sections out as fragments, the various installation formats available engage viewers in contemplation of the areas in an increasingly liquid society. The scale and application of the image evokes motifs and patterns found in traditions of totems and textiles. Still images applied as wall coverings, pillars, scrolls or flags. Digital gifs of the images afford exhibition on screens and move static light reflections, creating visually ghostly movements.

 

Digital Image, 2015/6, sizes start at 61,04 x 76,2 cm (24 x 30in)

Digital Image, 2015/6, sizes start at 61,04 x 76,2 cm (24 x 30in)

Digital Image, 2015/6, sizes start at 61,04 x 76,2 cm (24 x 30in)

Digital Image, 2015/6, sizes start at 61,04 x 76,2 cm (24 x 30in)

Digital Image, 2015/6, sizes start at 61,04 x 76,2 cm (24 x 30in)

Digital Image, 2015/6, sizes start at 61,04 x 76,2 cm (24 x 30in)

 


 

ULTRAVIOLET FOREST 2016

 

 

   

 

 

 

 

 

 

 

 

 

 

 

 

 

 

ULTRAVIOLET FOREST, 2015-2016, size variable. Images cast in UV spectrum. Forensics, UV spectrum, and the phenomena of phosphoresce are used to realise a surreal spectacle of visual imaging technology as replacing the reality of the landscape. Starved Rock State Park in Illinois was the original place the images were made. The historical site of conflict become a physical monolith by layering the representations into monoliths.

 


 

ISEN 2015

Isen, film photography to digitised and looped gif, 2015. Isen, from old languages meaning vigorous, strong instrument, or holy metal. The direct positive film exposure of coastal waters rising and repeating appear as ice on screen, looping. The Daoist understanding of power dynamics plays on illuminated screens.

 

The change of the climate has been in the news since I was a child. In my interest in finding errors in human perception and studying nature for its cues about reality, I wondered if I could use visible material today to understand the natural forces that exist. I used medium format film, scanned it, and used the negative impression of the scan to depict forms visible at a beach. It could be any beach, and in the inverted visual appearance, in the arctic. Though the photographs were made in the San Francisco area of California, inverting the values of the waves coming in and out of the bay, show the ebbs and flows of water, tide, and forms along the cost. The artwork is part of a larger body of worked titled Virtual Material which includes, images, gifs, and video.

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Real Self Image

Real Self Image, 2015, iPhone and Instagram Filters. The images were made to be scrolled through on a larger television screen in an exhibition to draw critical attention to the cultural fixation on identity and image.

 

The word real is supposed to establish something existing in the world. We can posit knowing an image is not real but is contained within a framework reconstituting an impression of an actuality. The photographic’s relationship to the referent changed drastically with the advent of digital imaging technology. Manipulation became increasingly prevalent and image making became a form of painting. Image manipulation has been around long before photography, however, the apparatus of photography, facilitates a diving into structures of falseness and accuracy.

 

 The question is Real on what basis? From the 2000’s forward, unreal, would be almost impossible to pin down. Therefore Virtual, Tactile, Projected, and other words suggestive of qualities come to rescue conceptions of Real.

 

Real Self Image looks at looking, and points towards the logical errors and oversights possible in reading an image. As Cletus Dalglish-Schommer described art movements in his course of Conceptualism to Post-Modern Art at Otis Grad Fine Arts, “trust me art”, implies trust, not only in the visual creations themselves but in the words affixed to the creation’s history. For an artist say say: I am telling the truth, will most certainly be met with: “there is no truth,” “there are only many truths,” “art is a lie that tells the truth.” Real Self Image is an attempt to point toward simultaneously toward the image and the viewer and ask: who decides?

 

A hoodie with the word “REAL” is worn on the self-portrait of the artist wearing a sea-salt paste over the face. Both water and salt are repeated elements in the works of the artists, for their complex compositions and relationships to commerce and trade. Salt and water are among the most common, abundant resources on earth. Placing such commonplace materials onto a face with the “Passport Photo” expression points towards the globalist movements promising liberation at technocrat expenses.

 

The scrolling aspect of Real Self Image may not immediately conjure memories of reading writing on scroll format; but is contained in the presentation to point towards the certitude of death. For if Identity supersedes Real, and Image supersedes Actual, the terms of value in life invert the values understood to be generative of life. The way someone or something appears may change the way they are understood within the viewer, but does not necessarily change what was actually there.

 

The upside-down, single-reflex apparatus photography was built suggests turning things upside down to get a gain a thorough looking at, versus affixing materials or meaning to chromatic shades of spectral value. The tonal masks ascribed value or meaning, are a bit like grown-up colouring books and the self-portrait and viewer are the sites of value and meaning.

 


 

Real self image, 2015. Scrolling touch screen installation.

chrome image

fade image

green image

instant image

mono image

noir image

none image (original)

process image

real image

tonal image

transfer image

 

chrome_960 fade_960 green_960 instant_960 mono_960 noir_960 original_960 process_960 real_960 tonal_960 transfer_960

SUSPENDED PLANES 2015

 

 

SUSPENDED PLANES, 2015, Installation, Configurations 1.0-4.0, Culver City, CA

Two square planes, one clear and one glossy black paint, suspended by tension from which nails affix twine to the wall. Painted gold clamps grasp each corner, as twine slips through. A projection of light passes onto, through, and around the planes as a meditation on words written by Kafka, “We photograph things in order to drive them out of our minds.”  In a single-reflex system, such a quote appears articulated from observable reality, as each configuration assigning a new variable, shows the limits of such a system. Viewers are able to physically navigate this single reflex system, with the aim to point to multiple systems of the their bodies to enable and dismantle a singular-reflex system. The final configuration 4,0 leading to a direct experience of the single-reflex planes obfuscation of bodily projection.

 

 

Materials 1.0 Twine, nail, clamp, gold and black gloss paint, two panels of acrylic 40.64 x 40.64cm 2.0 Same as above with projected light 3.0 Same as above with projected video 4.0 Same as above with projected video

 

 

RachelWolfe_TwoPlanes_web-2_1750

RachelWolfe_TwoPlanes_web-4_1267

RachelWolfe_TwoPlanes_web-6_1750

RachelWolfe_TwoPlanes_web-8_1750

RachelWolfe_TwoPlanes_web-10_1750

RachelWolfe_TwoPlanes_web-11_1750

RachelWolfe_TwoPlanes_web-12_1750

RachelWolfe_TwoPlanes_web-13_1750

RachelWolfe_TwoPlanes_web-14_1750

RachelWolfe_TwoPlanes_web-15_1750

RachelWolfe_TwoPlanes_web-16_1750

 

 

 

 

SONIDOS 2014

  • Sonidos, 2014, photographic image on acrylic, sizes vary.

 

SONIDOS, 2014, photographic images in series on acrylic, size variable. Artist proofs on paper. Digital audio files applied as grids upon film exposures of rural landscapes in a digital manipulation process.