Mixed media on paper, 2013
Installation view of the Hedonic Map at Co-Lab Projects. Images by Linsday Hutchens.
All images by Linsday Hutchens
Shining Apollo: paint and patina on steel, concrete, 92″ x 88″ x 88″, 2013
Descending Apollo: the drop from the dome, paint and patina on steel, 60″ x 60″ x 6″, 2013
Sculpture as a tribute to the sun. The shape was chosen by making many quick ink drawings to find dynamic shape that worked well in circular composition.
photo by Melissa Bartling
mixed media on paper, 10″x14″, 2013
In April 2013, I was the Featured Artist at the annual Garden Party at the Umlauf Sculpture Garden. It was quite an honor, and quite the night.
I produced 20+ drawings using the geometry and gestures of my hand to benefit the Umlauf. These were sold at the event and given as gifts to the board members.
I used to experience freedom only when alone. At first it was seeking refuge outdoors from my family. Then I found it in books. I found it in my studio. I found it driving fast in a car, riding my motorcycle, racing down a mountain on skis. Outdoors in nature, feeling solitude and safety; sitting in a tree watching; hiking unobserved. Swimming at UT’s giant swimming pool. I love those kinds of freedom, I still pursue those experiences. But I have had enough surprising experiences with others lately that I have begun to pick up a new scent to follow: the transcendent freedom that comes with openly and freely engaging someone in conversation, dance, touch, or play. I want to bring that intimacy into my studio practice and ask people who I trust to engage with me in making drawings with me. Drawings are a low investment of materials and time, so there is more freedom to let go in the process and see what happens without attachment to outcome. The work I will be showing at the “Sacred Space” show in June will hopefully document some of the pieces that I make in the next month that engage others. I have made a few already. I want the drawings to be records of the experiences that I have in trusting. I want to document the sacred space between you and me.
Fisterra Studio is pleased to announce a solo show of Jennifer Chenoweth’s drawings, paintings and sculptures at the Julia C. Butridge Gallery at the Dougherty Art Center: Sacred Space.
Wednesday June 5 – Saturday June 29, 2013. The artist’s reception will be Tuesday June 11, 2013 from 6:00pm – 8:00 pm.
The Dead Music Capital Marching Band will perform at the opening.
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 Spaces” explores the interactive space of the human body through architectural sculpture and gestural mark-making.
Painting used to tell the stories of a culture on the surfaces of sacred spaces such as caves, temples and churches–photography and film have replace this function of visual art. 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. The human body is represented in its indexical evidence in drawings and in geometric markers of ourselves. 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 in various media, from charcoal to a plasma-cutter. 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. The shapes incorporated into these structures evoke gendered symbolism–the curved dome represents a feminine, mother-figure, while Catholic cruciform shapes represent the masculine, with vertical space representing the trinity. Reiterating these symbols in my own work allows me to explore both the personal space of one body and the interactive relationships between several bodies at once. –Preview of WORK IN PROCESS–
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. Family relationships and group dynamics 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.
My artwork is relational. The work isn’t complete until there is someone interacting with it. Once I have made these artworks, dialog with community about the art is very important to my process.
Gallery Hours: Monday – Thursday 10am – 9:30pm, Friday 10am – 5:30pm, Saturday 10am – 4pm
Gallery Address: 1110 Barton Springs Road, Austin, Texas 78704
Sacred Space is funded and supported in part by the City of Austin through the Cultural Arts Division believing an investment in the Arts is an investment in Austin’s future. Visit Austin at NowPlayingAustin.com.
Jennifer Chenoweth is available to teach the following classes for your group or company. Occasionally she offers these courses out of her home studio as well. Contact for pricing and scheduling information.
THE CREATIVE PRACTICE (1-3 hour workshop and presentation, suitable for large or small groups)
Jennifer gives an artist’s talk about her creative practice, showing examples of her work and her creativity’s evolution. Then the participants will work on a project that is both independent and collaborative, to shake up preconceptions of how to create, play and be spontaneous.
DRAWING AS A WAY OF THINKING (1-3 hour workshop per meeting, suitable for large or small groups)
This class is a very open ended exploration of the process of thinking while drawing, rather than writing, with a low investment of materials and a great way to experiment. This will be a way to try do and think new things, rather than an instruction of how to draw.
PLAYING IN COLOR (either one 3-hour workshop or three 1-hour classes, up to 12)
Understanding color relationships can be a great foundation of making art or enjoying how you make choices. In this class, there will be an introduction to paint color mixing, types of paint, the language of describing color, and matching.
These classes she teaches regularly through GenerousArt.org:
COMMUNITY, COLLABORATION, AND TRADE (2 hour workshop, suitable for large or small groups)
This workshop will present examples of how artists can create relationships and alliances to further their individual projects and careers. We will discuss appropriate approaches to personal networking and building trust as well as how to create and negotiate relationships for mutual benefit, including subcontracting, barter, and time-sharing.
FINANCIALS FOR CREATIVES (3 hour workshop, suitable for large or small groups)
No matter whether you have a working small business and want to make it more efficient or have never filed your taxes, this will be great information for you. This workshop will help you understand the basics of recordkeeping and financial management for independent creative business owners.
CREATIVE ENTREPRENEURSHIP (2 hour workshop, suitable for large or small groups)
As an artist you are also a creative entrepreneur. This workshop will help you develop a business plan for your artistic talents and dreams. Create and grow your creative enterprise by setting a foundation to build a detailed plan and path toward goals and success.
PROFESSIONAL PRESENCE (2 hour workshop, suitable for large or small groups)
Present yourself well so that potential donors, employers, and clients get the right impression of you and your work. Learn how to create great portfolios, proposals, websites, photographic representations of artwork, resumes, artistic statements, and more.
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 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!
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.