These two images are scans of existing oil paintings for the background, plus scans of some architectural images that are layered together. A combination of different floor plans and elevations of Roman architecture are atop each other on transparencies. These were scanned into one digital image which sits on top of the painterly drips. Sphere of Influence is the elevation view of different buildings, and, Circle of Influence is the plan view of different buildings.
Be part of Fisterra’s community. Find a sign and locate it on a map as part of a scavenger hunt at –Art Outside–. Buy a sign and hang it where you live, then go online to add it to the “Art Lives Here” google map.
Five Ring Trophies are mounted to the third floor catwalk of Austin City Hall
A display of giant jewelry made to invoke hunting mounts, ring displays, carnival hats and some wry commentary on the sexes. The displays are made of fake fur over an armature, the rings are made of powder coated and painted steel. Ten rings hang on five mounts.
Energy Triptych, enamel on stainless steel, 57″x20″x2″ each, 2009
Triangulated Spheres, owdercoated and painted steel, installation dimensions vary, area shown here 60″x80″x5″, 2009
Detail view, largest sphere 5″ diameter
Created simultaneously with Energy, Triangulated Spheres came from a psychological influence—family dynamics, with a pattern generated by two primary “mates” and two offspring. The pattern regenerates along a mathematical principal, or not, as space and borders allow.
The initial movement in an artistic practice is that of the hand on paper. This mark-making studio practice recalls the attentiveness and inventiveness necessary for being present within one’s artistic practice. After time spent away from the studio, to begin again with this process reminds the hands of their skill and the shapes produced inspire other forms that come about in future work.
Chenoweth’s flowing three-dimensional wall installation is inspired by the four elements: earth, water, air and fire. She has created a unique topography utilizing the lengthy, traveling space of the gallery in a way that has not yet been explored. Chenoweth’s methods and process for this piece include ink drawings on rice paper, torch-cut metal, dripped paint, and repeating spiraling cones in cast plaster.
Curated by Jade Walker, Visual Arts Center, Department of Art and Art History, The University of Texas at Austin.
Painting and wall sculpture, oil on panel, 46″x46″x2″, oil on six steel hemispheres, 4″, 5″, and 8″ diameter, 2009
Drawn from a quote from David Mitchell, “The last of the cherry blossom… when it’s perfect, it falls….So it’s only absolutely perfect when it’s falling through the air, this way and that, for the briefest time…” A shadow created within the two-dimensional painting plane brings the path of the blossom into the viewer’s space, while the representational form in the background serves as a specific response.