Writings

Sacred Space

  • by fisterra

Vitiruvian ManNew artist’s statement about current artwork:

Historically, painting told the stories of a culture on the surfaces of sacred purchasing tramadol online spaces such as caves and temples. Today, visual storytelling has mainly moved to photography and film, and imagination and ideas are expressed in all creative mediums. What remains unique to visual art is the hand of the artist and the visceral relationship of the art object to both the maker and viewer of the art.

Art-making is my primary spiritual action. Creating art allows me to express my unique manifestation as a body and as a conscious being.

“Sacred Space” explores the space of the human body through architectural sculpture and gestural mark-making. I create forms that unify these ideas, such as a dome that is the diameter of my reach. Using the indexical movement of my arm, I draw and paint on the surface.  The finished artworks are both sculpture and painting.

So I may better understand how sacred space is created through geometry and form, I have studied the evolution of historical sacred architecture from Etruscan to Greek to Roman to Christian. Early temples used domes to represent the feminine. For example, the dome relates to the mother figure.  Catholic cruciform shapes represent the masculine, with vertical space representing the trinity.

Before construction, I create drawings and scale models to help me consider the sizes and proportions of the artworks as well as how to place the artwork in relationship to viewers. Some artworks explore the personal space of one body, while others describe the spatial relationship between several bodies at once. Family relationships and the dynamics of people in groups are important themes of my work, but some artworks are simply the practice of making marks in space with my unique hand in a variety of materials.Sphere of Influence

Writings

Hell and Heaven, July 7

  • by fisterra

I spent two days of the July 4 weekend creating patterns out of the ink drawings, both in photoshop and with paper and tape.

I tried out arches, octagons, hexagons, pentagons and quads, finally settling on a finalist that I nicknamed “genie” as a hexagon positive for heaven. I liked its line quality and its dynamic shape as a single, a double, and a hexagon. And I liked the negative shapes it left on its remaining sheet. I tried several different arrangements of the drops to make a hexagon negative for hell.  I think I found one I’m interested in, and imagine it will change a bit once its made to scale. Part of the process is planning the best I can, and being open to change and improvements.

My fabulous helper Andrea Grimm helped by projecting and cutting out the stencil, and spray painting the stencil onto the sheet of aluminum buy cheap tramadol online full size. We made a few adjustments as she worked. It was really cool to get to explain my process to her and let her go at it. She’s smart. She also helped with the math: I’m good at geometry, she’s good at algebra. She left me this lovely simple note: C=16,  D=C/pi, C/pi=piD/pi  D=5.093, R=2.55, sweet!

Artist Virginia Fleck recommended Crippen Sheet Metal in Austin, who will roll the sheet into a half circle on Monday.

In the bottom photo, the shape on the left is the “heaven” piece, and the shape on the bottom right is the start of the “hell” piece. The dome is a finished piece of art called “Moon” that is a 5″ hemisphere that I used as a scale model of a 5′ dome.

Tomorrow I’ll post a picture of the stenciled, flat sheet metal, ready for bending into a half circle.

Andiamo wall view of installation 2011-2012 Catalog

Andiamo, wall view

  • by fisterra
Andiamo, wall view of artworks

Andiamo: This body of work reengages my research of Roman architecture. I study mathematical proportion, path, axis, and patterns in plans and elevations of buildings. I am interested in how these spherical clusters relate to human scale, as diagrammed by Vitruvius. I want to understand how a sacred spaces are created architecturally and sculpturally.

These artworks are abstractions of real buy tramadol c o d architectural buildings from the Roman Empire. They are models for large-scale sculpture. I am interested in the paint and texture as a response to traditional surface decoration of domes in architecture. By constructing these shaped surfaces, I am creating sacred space for my own painting and drawing practice.

Hagia Sophia Sculpture Plan, grayDuck Gallery Shows

grayDuck gallery: Departure Jan 14-Feb 13, 2011

  • by fisterra

 

Hagia Sophia Plan

grayDuck gallery presents:

DEPARTURE

Ute Bertog, Melissa Breitenfeldt,
Jennifer Chenoweth, Court Lurie

opening reception: friday, january 14, 7-9pm

exhibition dates: january 14 – february 13, 2011
gallery hours: wed, fri, sat 11-6pm, thur 4-8pm & sun 12-5pm

grayduckgallery.com | 512.826.5334
608 w. monroe st. | suite c | austin tx 78704

grayDUCK gallery is pleased to present DEPARTURE.  This abstract show explores the deconstruction of words, architecture, and information while paying homage to intuition, spirituality, and imagination.

Jennifer Chenoweth
Andiamo: This body of work reengages my research of Roman architecture. I study mathematical proportion, path, axis, and patterns in plans and elevations of buildings. I am interested in how these spherical clusters relate to human scale, as diagramed by Vitruvius. I want to understand how a sacred experience is created architecturally and sculpturally.

These artworks are abstractions of real architectural buildings from the Roman Empire. They are models for large-scale sculpture. I am interested in the paint and texture as a response to traditional surface decoration of domes in architecture. By constructing these shaped surfaces, I am creating sacred space for my own painting and drawing practice.

Ute Bertog
I am a painter intrigued by abstraction and its reluctant relationship to language. My goal is
not to make transparent works, but to create opportunities for meaning to slip into other guises.

Texts from news media form the basis for erasures, where the majority of words are canceled out to disrupt and change a given storyline. The result is a fragmented text, interspersed with a multitude of gaps that
coaxes meaning away from the original story. I slowly transform the text until the ability to read is either severely undermined or completely taken away. This is where imagination and play come in and readily fill in any gaps, offering the chance to destabilize and confuse original content.

Melissa Breitenfeldt
Overwhelmed at the amount of information available if not imposed on us everyday, I am constantly seeking a space of quiet resistance.

I’m interested in teaching people a new visual language. The only way to do this is through exploration and openness to the process. To exploit the viewers’ tendency to need something identifiable, I try to create a place with no ties to the existing world, free from the attached meanings of recognizable objects and forms. By using the tension between color, line, and space as my device, I seek to create a composition with its own progression of visual language and evolving rules. With a composition full of precedents the world begins to reveal itself.

Court Lurie
I have spent years studying the intricacies of thought patterns and how they are expressed through action and emotion. I am particularly intrigued by the relationship between ego, motivation and faith. While painting, my awareness vacillates between intentional, premeditated mark making, and spontaneous, intuitive, risk taking, delving into the unknown and exploring new ways of creating space.

The process of creating each work is a dialogue that unfolds in the moment. This complex, ongoing conversation transforms into unpredictable, raw meditations on letting go. Saturation, layers, hue, transparency, content, form and texture intermingle to create an exchange that compositionally comes alive when balance and harmony are achieved.

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