OSLO ART & FASHION FESTIVAL 2018

  • Mouvements (Bevegelsene), 2015-2018, film photography, variable sizes

 

MOUVEMENTS (BEVEGELSENE), 2015-2018, photography, variable sizes. Exhibitions at Vérité, Grundingen 1-3, Aker Brygge, 0250 Oslo, Norway for Oslo Art and Fashion Festival, and Akers Mek in Oslo, Norway, 100 x 140 cm, Epson Archival Ink, mounted on kapa. The exhibition was supported by Epson Europe, Interfoto Oslo, and CopyCat Fine Art in Skøyen.

 

The Mouvements series reveals nuanced details in digital imaging technology. The images are informed by tensions in oil and water. The materiality of digital imaging technology, distance in viewing, and surreal representations in water forms are highlighted by minuscule film grains amplified after film scanning. The epistemology of water or way we come to learn and understand what water, is an ongoing endeavour. To then know what we are doing with technology, requires extended looking. The way something appears can obfuscate and reveal our relationship to the looking. Oil and water become elemental allegory for technocratic times. As Umberto Eco writes in several books on late modernity, images are read and our connections and relations are realised as a malleable surfaces. The natural beauty of the water is transformed by a hypnotic colour palette tied to screen technology. Viewing distances engage viewers in a sense of movement in stillness.

 

2018 Interview on Collect Oslo Art and Fashion Website

   

Q & A:

COL: How old are you and where are you from? RW: 33 calendar years. I’ve had the good fortune to be from a loving family in Illinois. COL: What do you do? RW: In a comprehensive view: studying the proposed divide between the material and metaphysical, the dream and waking landscape. In concrete terms, a process of field recording with photographic exposures, sound, video, material, documenting and editing the documentation, studying history and the scientific properties of the materials, and representing literal translation of materials through sense phenomena through visual an installation art, privileging kinesthetic knowing. I think Descartes got things twisted and there are aspects about reality I want to make sure to emphasize, to bring value to. My goal has always been to make awe, wonder, hope, and beauty in meditative connection present in my work. COL: How long have you been doing it? RW: About 20 years. In 1999 I participated in a group field project, working with artists from neighboring towns to create a formal representation, carved with mowers into a field, visible from space. This was the first time I concretized the desire to work with vision, body, space, and landscape. COL: What’s your first artistic memory? RW: Tap, jazz, and ballet class in the gymnasium. COL: What inspired you to pursue a career in art? RW: Intrinsic motivation. The idea a career is a choice has always seemed like a post-modernist dream. There are things people can do, cannot do, and things we cannot help but do no matter what’s going on. The latter could be described as inspiration, or something else. The something else is a bit closer to the truth. If I could be inspired to be a programmer, electrical engineer, geologist, or medical doctor I would have done that. I’ve succumbed to some kind of motivation beyond a sense of I. It sounds religious, but it’s not. Terrible things happen when life goes out of its flow. COL: Do you remember your first work of art? RW: I don’t think I can. I can recall receiving local newspaper coverage as artist-of-the-month for a pseudo-cave drawing I made. Pseudo because it was paper stuffed with paper to create a visual impression of being a rock that I then drew stick human and animal figures and rudimentary shapes on. It was strange experience, because a collaged rendering of an underwater, shopping mall plan with an environmentally friendly, self-supporting ecosystem seemed more artistic than the “cave” renderings. I suppose what other people find interesting became interesting to me then: the sense of questioning “What on earth (is going on)?” COL: If you could have any piece of art in history, what would you choose? RW: I am greedy with art, so I would want to own the work of my contemporaries. The work they make boggles my mind. Space would be a primary necessity as my colleagues tend to work in various mediums. COL: What is your relationship with fashion? RW: A loving and deep relationship. Fashion has somehow been attributed to all kinds of vapid critique for being shallow. Fashion itself isn’t these things, fashion, of all things touches on life itself-the body, expression, and from a Traditional Chinese Medicine perspective, the frequency of colors permeates what we can and cannot see. On a political and economic sense, the power of choice, to support and value labor or to do the easier thing and commodify and code the crap out of slave labor. I took an independent study in freshman year of high school and turned away from fashion because I was a wimp who couldn’t handle these weighty issues, but as the years go by, I am right back in this interest, with a stronger stomach and more motivation to work through the changes. COL: What does the word “collective” mean to you as an artist? RW: For some reason I thought of communication and telegrams. I got to checking out the etymology of the word (one of my favorite things to do), and indeed, there is something about collective that is about transmission of communication for force. Nature has a way of gathering resources to creatively disseminate, and so collective feels wholly functional in terms of art. I’m also part of an international artist group, Ex Nihilo, formed by artists working literally on different continents in different countries. As a collective, we provide the support to each other necessary to keep doing our work. COL: What is the best and worst thing about being an artist? RW: The best thing is being honest-about everything and doing what’s in my heart to be done, working through the ideas, understanding where symphonies come from, reading texts and wasting very few moments if any on luxuries such as boredom. The worst thing is thinking I can ever explain how much work is involved and reminding people the value of labor. The rise of the human as an ideological individual perpetuates an archaic myth of lifestyle, which is about a flimsy narrative that somehow manages to perpetuate the ages. I still find this a “best part” in that being honest serves a performative role of describing. Describing work and life is really something that doesn’t have working hours. COL: Who do you admire? RW: This is an incredibly long list to start, and one I honestly should ask people if they mind if I bring up their names. My parents have worked hard and loved nonstop, 40 years married. I admire that. Most of my friends have moved countries, at least once, and that is considerable effort-admire that. Architects, designers, painters, people who keep doing what they do and say what’s on their mind no matter what is popular or not, I admire. Since things have gotten a bit extreme, I’ll say I admire that, save for the folk who have really gone nasty with ideological agendas. I don’t admire dogma but I don’t find heresy in times of radical political correctness to be a major offense. Authors are some of those I admire a great deal. Words are a tough medium to work in, and to attribute the ideas to their name, courageous. Sorry for dodging the question in the most direct sense, but I also want to respect the privacy of the people I admire-for I do admire them in ways words will fail anyway. COL: What can we expect to see at this year’s festival? RW: A lot of work pulled of elegantly. One of the striking features I’ve noticed in the Oslo Art and Fashion Festival is how much effort is made, how much beauty and value is given, and how enjoyable the entire experience is. The kind of effortlessness appearance always involves the most amount of work. I think if people can’t see it, they can feel it somehow by looking. Or at least I can. I can’t wait to see the rest of the festival. COL: Who are you excited to see? RW: The artists! I read their histories, see their work-but as hinted, artists are working all the time. It’s a rare occasion to actually get to see the artists themselves, and express the appreciation for their work. And, my friends. So many fun evenings and relationships are neglected from working. The festival is a chance to see awesome people I’ve missed for weeks or months. COL: How important is the ability to expose your art to you and your creative field? RW: Essential. Making for myself is about as interesting, to me, as eating alone. An activity done out of survival necessity, but really the joy is connection. From a sense of survival in the time of value/commodity exchange.  


 

ELVELANGS 2018

 

 

ELVELANGS I FAKKELLYS, Oslo, Norway, public installations for autumn 2018 & 2017

2018: Dual Site Installation: Vesper Monumenter and Et Dypt Nett, Frysja in Nordre Aker Bydel and Smelteverket in the Vulkan Mathallen.

 

VESPER MONUMENTER, 2018, 8 sculptures, tin-foil and snow-markers, lights with blue photo-gel filters for twilight frequency, “Shimmer” video projection. The Vesper Monumenter sculptures stand as pillars reflecting light in the twilight to darkened landscape, and were part of a dual-site installation with Frysja in the Nordre Aker Bydel and the Et Dypt Nett light and sculptures at Smelteverket in the Vulkan Mathallen Arena, in Oslo, Norway. 

 

 

 

 

 

 

SHIMMER, 2018, single-channel video, original musical score.

 

 

 

 

 

 

MAKING OF ELVELANGS, 2018.

 

 

 

 

 

 

ET DYPT NETT, 2018, 8 sculptures with light, Smelteverket, Vulkan Mathallen.

 

 

 

ELVELANGS I FAKKELLYS, Oslo, Norway, Elvelangs is an annual celebration and night walk for the autumnal equinox.   The public is invited and suitable for all ages. Installations were made for autumn 2018 & 2017.

 

 




 


 

MOUVEMENTS 2015 – 2018

  • Mouvements (Bevegelsene), 2015-2018, film photography, variable sizes

 

MOUVEMENTS (BEVEGELSENE), 2015-2018, photography, variable sizes. Exhibitions at Vérité and Akers Mek in Oslo, Norway, 100 x 140 cm, Epson Archival Ink, mounted on kapa.

 

The Mouvements series reveals nuanced details in digital imaging technology. The images are informed by tensions in oil and water. The materiality of digital imaging technology, distance in viewing, and surreal representations in water forms are highlighted by minuscule film grains amplified after film scanning. The epistemology of water or way we come to learn and understand what water, is an ongoing endeavour. To then know what we are doing with technology, requires extended looking. The way something appears can obfuscate and reveal our relationship to the looking. Oil and water become elemental allegory for technocratic times. As Umberto Eco writes in several books on late modernity, images are read and our connections and relations are realised as a malleable surfaces. The natural beauty of the water is transformed by a hypnotic colour palette tied to screen technology. Viewing distances engage viewers in a sense of movement in stillness.

 

Exhibition for Oslo Art & Fashion Festival at Vérité and afterwards at Akers Mek. The series is available for printing on metal, vinyl, for limited edition prints, custom facades for public art. The series is part of the book: Textures & Movements.

 


 

EX NIHILO 2017

Group ExhibitionEx Nihilo“, 2017, Video of Exhibition at La Macina di San Cresci , Catalogue

 

 

“In the beginning God created the heavens and the earth.” Genesis 1:1

 

As if out of nothing, after two years of cogitating the possibility of making an exhibition that would speak deeply of our longing for a reconnection of body and spirit, Ex Nihilo comes together embracing difference and individuality. Even though the titled, Ex Nihilo, was chosen two years ago, Pieve di San Cresci, a special place-space emerged out of nothing presenting us with the very same question, which we have thrown in the deepest void vacuum of ideas, and desires that reside nowhere but within us. Building blocks began falling into place until it physically appeared in the most magical way, building our confidences and throwing us back into the unknown. This exhibition was conceived to be a communion and an exchange among those artists, with themselves and with the space that it inhabits. The display of the art objects was designed in harmony with what is, to create what it can be. Creation, therefore, becomes a movement from inside out outside in, in the particularity of everyone’s heart.

–       Marcela Gottardo, exhibiting artist, curator, exhibition designer

 


 

Ex Nihilo installation is dedicated to putting form to an ongoing dialogue with 5 international, women artists.

In our attempts to make sense of the strength and fragility of human life, we began to speak about how things come together, take form, and from what often appears as out of nowhere from nothing.

Latin for ‘of nothing,’ Ex Nihilo installation focuses on existence, conditions of the body, and the ‘Barely There’ nature found in artwork of women.

Ex Nihilo looks at the emergent qualities of a given situation and the space from which the exchange, like 5 elements of nature, 4 plus void, the appearance of nowhere comes from a combined dynamic.

What artist Rachel Wolfe calls: “la beaux monde creatif,” is the ‘Barely There’ thing that emerges from an ongoing conversation of trust, collaboration, and witness as it forms the basis for making, it’s also an often over looked, because of its immaterial qualities. While immaterial, the ‘thing’ made from emergence is for sure not “no-thing.”

When artist Sweet Samson invented the term: “Nesslessness,” ‘ness’ the essence of something denoting quality and state, -‘less’ “without,” the state of being without state, the essence of empty, what does this feel like? Something so empty, it becomes full, full of possibility.

The question Points of Connection, Ex Nihilo continues to ask: How to make present the sense of mercurial absence, from which life force flows?

In continuing the work of Ex Nihilo, we 5 artists working together realize and expand themes of work to include ways women-as-seers historically have been made ‘Barely There.’ We take this quality into our forms, and let it inform, in a positive way together.

When we see each other, presence takes shape as an offering, a gift, and the ‘Barely There’ echo of possibility transformed into the something emergent from Ex Nihilo.

–       Jamie Grace Davis, exhibiting artist in residency at La Macina di San Cresci

 


 

Delia Pérez Salinas Tijerina

Shroud, 2017
Hand patched silk, mirror, and wig
79 x 56 and 79 x 56 cm

 

Mimicking the church floor considers the importance of primitivism. The conquering of countries development of their own hegemony, we now call identity. I believe humans are more ritualized than before. Black satin emphasizes mourning we are born with and how a self is in juxtaposition with pedagogy. A mirror beside the satin checkered tile rug symbolizes freedom of the underworld as our ancestors believed, the wig signifying a once lively eternity.

 


 

Jamie Grace Davis

The Bones Sculptures, 2017
Unfired clay and wood sticks
295 x 138 cm

Form and Formless, an abstraction from the core of our bodies, there, but unseen. We all share: “bones.” These are imagined bodiless bones made of clay, turning to dust.

 

Jamie Grace Davis

The Garden, 2017
Installation design, co-curation by Marcella Gottardo.

 

“The Garden” is an exploration in what artist Andre Feliciano calls “Floressiance.” By themselves these paintings are small moments of ‘nothing.’ Together, the whole experience becomes something to take in, all at once, a feast for the senses. The room is heavy in orange fragrance. 🍊

 

Jamie Grace Davis

Soudad, 2015-ongoing
Acrylic painting on bed sheet
Queen

 

“Soudad” An Arabic word, about ‘journey’ loosely translated: “to see from the highest place of your dreams.” I have been taking this painting with me to every location of Points of Connection. It has all the indexical marks from all the other paintings I have made along the way. It’s a registration. The shapes form themselves through layers of time, trust, and highly calculated risk. It’s the thing that’s always underneath all the other paintings, the thing most unseen. It has become the provisional, situational foundation.

“If I take this thing and reposition it, over and over and do things to and put it in different circumstances, when and how will that thing take on that ‘Barely There’ quality? Things that are the most discarded have this. Things that travel a lot have this. What goes into making something that has a magnetic presence no matter how simple it appears?

I’m interested in how an aura is actually formed. What is the mechanism?

Walter Benjamin wrote: “We know that the earliest art works originated in the service of a ritual—first the magical, then the religious kind. It is significant that the existence of the work of art with reference to its aura is never entirely separated from its ritual function.”

Ritual is a form of repetition, a way of participation, to build a relationship with, to belong. Ritual is transforming discomfort into comfort, discord into balance and harmony, senselessness into meaning. When I think about this as relates to dance, I think about it in terms of gesture and posture. Gesture, an action repeated over and over and posture, a fixed shape.  Posture emerges from the gesture itself, sometimes as a stop, a pause, a wobble, of its own volition. This can be applied to mark making in a painting.

All the pours, casts, imprints and registrations: are from gesture. The fixed appearance of movement, posture.

Between the two things of gesture and posture is something else -something ‘Barely There.’

 


 

Marcela Gottardo

The Language of the Sun, 2016
Ceramics, plaster, and galvanized iron
430 cm x 320 cm

 

Soon after moving to Italy, after living twelve years in the United States, I again became an immigrant. The burden of language, it’s limits, beauty, grace, and the continual sense of being misunderstood -even when standing in my own country, Brazil, granddaughter of Italian immigrants. The weight of the stars hit me, crush me, torn me upside-down, inside-out, fired me, freeze me as an un-programmed thermostat. Under yellow orange green brown oak trees, I walk, surrounded by ancient histories and mountains; I ponder the heart of lost civilizations buried beneath my feet. Homeland less, walking this land crushing leaves and bones, smelling blood and crying out, looking up and looking down, my littleness, meaningless existence.

While the morning dew reveals the spider trap among sweet purple flowers, the undisturbed mud beneath the water pond hides death and decadence. An accelerated unsettle heart craves more, beats thunders welcoming what cannot be possible known within words.

 


 

Rachel Wolfe

Memoria Technica, 2015
Series of 5 monolithic photographs
90,64 x 180 cm

 

Rachel Wolfe

Teknovisuell Experience, detail of detail #5, 2015-2016
34 x 134 cm Photograph on vinyl

Memoria Technica is a series of 5 monolithic film exposures realized as seasons, axiomatically marking the vertical landscape in relationship with the human body in magnetic resonance imaging. The monolithic image as marker in the sense and perception of passage through time.

Works in Ex Nihilo: Summer, a caustic season; Spring, a vernal pour; Autumn, a hieratic vessel.

Teknovisuell Experience is a series of 7 images. Dimensions vary relative to Architecture. Images of water emphasize ethereal qualities of digital imaging technology and engage viewers in a physical relationship with the image/vision and body/space.

 


 

Sweet Samson

Not almost nothing, 2016
Acrylic and carbon fiber on canvas
43 x 43 cm each

 

Sweet Samson

Ester, 2017
Aqua resin, acrylic and carbon fiber
7 x 8 cm

In the Art nothing is for sure until an attempt is accomplished.  Although, nothing is for sure thereafter as well.

 


 

Special thanks to Mimma and Duccio for allowing Ex Nihilo to come to fruition in this very special place.

 


 

ELVELANGS 2017

 

 

 

 

9 WORLDS OF IMAGE AND LIGHT, 2017, installation, Smelteverket, Vulkan Mathallen. The concept and plan was founded between Rachel and Smelteverket and supported by Torso Kunstartikler and Smelteverket. The drawings were a shared labor between Rachel Wolfe and Katarina Caspersen.

ELVELANGS I FAKKELLYS, Oslo, Norway, public installations for autumn 2018 & 2017

 

 


 

TEKNOVISUELL EXPERIENCE

  • Digital images, 2015-2016, printed at 61,04 x 76,2 cm (24 x 30in)

 

INSTALLATION OF DETAIL #5 at OTIS COLLEGE OF ART & DESIGN engages the relationships of body & space to image technology through the clarity of the perceived image. The imaging processes themselves displace and reform pigments and images, creating fuzzy borders. The Teknovisuell Experience series represents, through images of water, aesthetic and ethical qualities technology raises in our societies.

 

 

 

TEKNOVISUELL EXPERIENCE DETAIL  #5, VIRTUAL MATERIAL SERIES, public installation, Otis College of Art and Design Admissions Office, Los Angeles, California, 2017. The Teknovisuell Experience works are part of a larger body of work titled Virtual Material.

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.

 


 

OMNISCIENT in Imagining New Eurasia Exhibition

Oslo, Norway 오슬로, 노르웨이
OMNISCIENT  전지(全知)
Rachel Wolfe  레이첼 볼프

 

The wisdom of water is the emergence of the emotional body in social practice. Water, according to the Chinese theory of five elements, serves as a symbol and material pathway to the movement and expression of emotions. Water, as symbol and material pathway for energy, is viewed in the new society as sacred to the human experience. The water is to be protected, cherished, and shared amongst people to create a more humane society.

 

물의 지혜는 사회적인 삶에서 분출되는 감정과도 같다. 고대 중국에서 말하는 5대 원소 중의 하나인 물은 움직임과 감정 표현의 상징이자 도구다. 과거 깨끗한 물 관리에 소홀했던 때와 달리 새로운 세계에서는 물을 소중히 여긴다. 새로운 사회에서 물은 에너지로 통하는 길이자 에너지의 상징이다. 이것은 성스러운 인간 경험이다. 그러므로 더욱 인간적인 사회를 구현하기 위해 물을 보호하고 소중히 다루어 모든 이가 공유해야 마땅하다. 물을 아끼고 존중하는 것은 곧 우리 인간 사회를 구성하는 감정을 아끼고 존중한다는 뜻이다.

 

 

rwolfe_omniscient

 


 

Omniscient, 2015, 101.6cm x 304.8cm (40x120in), monolithic photographic image won first place by the Jury and was exhibited in the Here There and Everywhere Exhibition as part of the Imagining New Eurasia project at the Asia Culture Center in Gwanju, South Korea.

Exhibition Imagining New Eurasia

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


SECURITY BLANKET (TROUBLEWEED)

 

Installation with Security blanket (troubleweed), 2015, installation, Bolsky Gallery, Los Angeles, California, traveling object. Materials: Photographic print on bathing towel (troubleweed), wooden monkey, dried roses, clear plexi, twine, golden clamps, cotton bags of salt labeled “take me.” A few left with visitors to the exhibition.

 

The installation explores symbolic and literal functions of narrative. Symbolic objects specifically arranged to materialise ideas, or cognitive “things”: Boundary, Grief, Security, Transparency, and Choice.

Troubleweed (photographic print on bathing towel) was sent via USPS & photographed by artists, continuing the installations thematic elements: Trust, Transparency, Choice, Cooperation, Resource. The tumbleweed, as an associated symbol of the western desert, found its way into the Los Angeles River during a drought. During a time of environmental drought, the representation of a prickly ball on a soft surface continued to travel across the United States, depicted by artists in their location and within the relationship of their praxis of art and ways of living.

The traveling Troubleweed bathing towel looks at the question: Can an inanimate object traveling through space and time, via the interdependent wills of artists offer insight into the values which constitute a nation?  

After the installation transformed into an ongoing body of work, the archive became an accumulation of bodies of labor, in the time of the internet, where communication and the quality of sincerity is questioned to exist and critiqued as sentimental. The travel archive and final resting place of the work, extends the original metaphor and metaphysical propositions of the original installation.

There were no time constraints on the project. The premise of not having a time constraint looks at the line or levy of personal will. The USPS, once carried by horse and now by horse power and machine sorting assistants, still require the human as critical points within a functional system. The project works as an aggregate of an experiment. At each destination, the towel encounters photographic documentation. The act of imaging as a personal motive and labor are made as free choice.

As much as records provide proof, the archive seeks to underline the existence of motives rooted in: care, play, trust, and free-will, within systems of commodity and capital. Connecting people across Time (zones) and Space (geography), factors often considered to destroy human bonds, the Troubleweed bathing towel project reveal the peculiar value ascribed to an inanimate object is not in the object itself, but in the intangible values that constitute its traverse through Space and Time. As Douglas Adams once described in the Hitchhiker’s Guide to the Galaxy: a towel is about the most massively useful thing an interstellar hitchhiker can have.

In 2020 the Troubleweed bathing towel, hitchhiked through the labors of artists, found its resting place in Santa Rosa, California, where the towel found a home. Alas the story inevitably continues, though outside the parameters of surveillance the record of archives the traveling component of this work imposed .  

 


 

Original film image of an Ojai tumbleweed in the Los Angeles River at Culver City.




 

Troubleweed bathing towel photographed as hypothetical bathing towel at Bygdøy Sjobad, Oslo, Norway, 2016.

 

 


 

 

Troubleweed bathing towel by Mark Uhalley, Los Angeles, California, 2017. Mark’s Vimeo channel.

 

 


 

 

Troubleweed bathing towel by Bryan Bankston, Richmond, Texas, 2017. Bryan’s Photography page on Facebook.

 

 


 

Troubleweed bathing towel by Stephanie Larson, Fort Myers, Florida, 2017. @wellspringwonder

 

 

 


 

Troubleweed bathing towel by Christina Song, Chicago, Illinois, 2017. @softycreamy

 

 


 

Troubleweed bathing towel by Maggie Meiners, 2017. @maggiemeinersphotography

 

 


 

Troubleweed bathing towel by Justine Genevieve Bianco, Palo Alto, 2017.

 

 


 

Troubleweed bathing towel by Brett Manning, Royal Center, Indiana, 2018.

Brett’s Instagram & Etsy Shoppe.

 


 

Troubleweed bathing towel by Maren’s Celest, Chicago, Illinois, 2018.

Maren’s Instagram and her new album on Spotify.

 

 

 


 

Troubleweed bathing towel by Yulia Morris, Los Angeles, California, 2019. Yulia’s Instagram.

 

 


 

FINAL RESTING PLACE

Troubleweed bathing towel by artist Peter Alan, Santa Rosa, California, 2020.

 

 


MAKING SENSE 2015

 

 

MAKING SENSE, 2015, installation, Bolsky Gallery, Los Angeles, CA. Text, materials, video documentation, poem and translation.  

Nautical Twilight
2015 450nm of Tokyo blue photography gel dimensions variable  
Salt of the Earth  2015 100kg of Mediterranean sea salt dimensions variable  
30seconds of Lake Michigan 2015 film photographs printed as digital negative triptych 33.02cm x 48.26cm ea.  
Omniscient  2015 35mm photograph of Nordic stream water 101.6cm x 304.8cm  
Sage Cypress 2015 29.57ml of essential oil dimensions variable      

This installation is composed of five elements- light, weight, time, distance, memory. Nautical Twilight is the span of time when sea navigation by horizon is not possible and land objects require artificial illumination for viewing. Salt of the earth denotes benevolence. Triangulation is a navigational strategy to locate an unknown point with two known points. Omniscient refers to unlimited understanding. Sage and Cypress oils evoke clear and open thought. A printed and folded book containing a poem translated into nine languages. On the verso of the accordian folded book, a printed image from the triptych. Visitors were invited to take the book with them. The installation engages in ongoing iterations, considering the historical narratives and concerns of each geographical location. Viewers often describe a sensation of submersion, disorientation, confusion, calm and clarity, expanding and contracting as they move through space. Making Sense book with 9 translations, printed in black and white on matte paperstock. The poem is a literal and translative approach to not knowing, or the kind of skillset a human in an intercontinental context may face themselves with. Transcript of poem in English below images. The installation engages in ongoing iterations, considering the historical narratives and concerns of each geographical location. Viewers often describe a sensation of submersion, disorientation, confusion, calm and clarity, expanding and contracting as they move through space.  






FullSizeRender_442 FullSizeRender3_476 FullSizeRender4_480



no noing no is not is here is no knowing there is no knowing then is no knowing past time past in front of time suspended time past past after time mirror makes past before eyes eyes imagine imagine is dream image is not imagined image is not knowing image is sensing sensing is feeling feeling is image image is sense focus front front focus mirror mirror is what past seeing mirror sees past groping sense of desire without letters or numbers. 

Variations By and Translated To: Frida Li, Chinese; Yasmin Than, French; Annetta Kapon, Greek; Marcela Gottardo, Italian; Soo Yun Jun, Korean; Børge Indergaard, Norwegian; Edyta Czajkowska, Polish; Sweet Samson, Russian; Delia Perez-Salinas, Spanish  


     



RESEARCH AND METHODOLOGY:
The installation developed through researching communication technology and the history of the WWII Heavy Water War in Vemork, in Telemark, Norway. The space was constructed by photographs, salt, scent, and photography lighting gels to evoke a liminoid hue at twilight. The metaphorical environment created a temporary space where Axioms do not hold up in physical space or material matter. The artwork extends to include the viewer’s subjective truths where congruences exist within the material.  

The story of the Heavy Water War was revealed as I intuitively worked through the historic layers of the a worldwide trauma, seeking to find the origin of terrible actions and the ancillary events which returned people to peaceful living. By the means of following research on the properties of materials and their relationship to the physiological human experience, I was led to Vemork Heavy Water Station in Norway. I wondered if art making can serve as a site of research to 1. uncover lost details which alter the understanding of histories 2. process latent epigenetic memories  3. provide a space for deeper learning and reflection.  

While time travel and political conversations still have yet to bear fruit in daily life, I wonder if moving learning into exhibition spaces, permits (Currere) a form of knowledge creation, enabling people to fully understand not with the mind alone but through an approximated experience. Experiences that create foundational layers to inspire courage to do things  the people in Rjukan did for the course of history.