Printable Masks
In anticipation of:
Audio & Optics: Tim Barnes and Letitia Quesenberry
Spring 2015 at the MSU Visual Arts Center
I visited with Tim and Letitia (letitiaquesenberry.com) in Letitia's studio
in the Portland neighborhood of Louisville, KY.
It was a lovely moment, to talk with an artist while in front of her work,
perhaps not simply about the work, but the larger ideas that the art
approaches, considers, handles.
in the Portland neighborhood of Louisville, KY.
It was a lovely moment, to talk with an artist while in front of her work,
perhaps not simply about the work, but the larger ideas that the art
approaches, considers, handles.
Tim and Letitia
Next Tuesday, I will be back in Louisville and will step into Tim's "studio": Dreamland to hear:
I wish I had been in town for this:
More reports, on the way.
With textiles, embroidery, whittling, ceramics, collage, photography and 3D printing, HomeEc
references the domestic realm in concept and craft. The participating
artists hail from Arkansas, Kentucky, Mississippi, Tennessee, and New
York and contribute a variety of unique considerations of home,
domesticity, privacy, tradition, belonging and displacement.
Ceramicist Summer Carmack evokes the tradition of afternoon tea, while Nick DeFord gently rebels against traditional notions of the home front in embroidery and image. Joe Ford's 3D printed cul-de-sac addresses privacy and surveillance. Paul Loughney's collages of floating millwork and destabilized architectural detail face Cara Sullivan's photographs of burnt interiors. Jenna Richards presents ghostly ceramic shells of folded garments - memorials to time and care - while Rowan Haug's paper quilt top floats on ambient air flow suggesting clothes drying on the line. A second work by Sullivan documents a performance in which she mimics the catnap and the charming collection of hand whittled spoons by Marty Haug deliver both a variety and unity of form.
Ceramicist Summer Carmack evokes the tradition of afternoon tea, while Nick DeFord gently rebels against traditional notions of the home front in embroidery and image. Joe Ford's 3D printed cul-de-sac addresses privacy and surveillance. Paul Loughney's collages of floating millwork and destabilized architectural detail face Cara Sullivan's photographs of burnt interiors. Jenna Richards presents ghostly ceramic shells of folded garments - memorials to time and care - while Rowan Haug's paper quilt top floats on ambient air flow suggesting clothes drying on the line. A second work by Sullivan documents a performance in which she mimics the catnap and the charming collection of hand whittled spoons by Marty Haug deliver both a variety and unity of form.
Joe Ford: Invisible Suburb, 2013
3D printed PLA plastic, plywood
Summer Carmack: Untitled, 2014
Ceramic
Nick DeFord: Whatever, Forever, What For, 2010
Hand-embroidered and stitching on cyanotype illustrations
Nick DeFord: Babble II, 2014
Cardboard letters, staples
Nick DeFord: Ascencion (Spotless), 2013
Hand-embroidery in book
Marty Haug: Spoons, 2013-14
Cedar, poplar, pine
Rowan Haug: The Inconsistency of Memory, 2008
Paper, vellum, cotton thread
Cara Sullivan: Cat Nap, 2014
Silver gelatin print
Jenna Richards: Stack 1, 2014
Ceramic
Jenna Richards: Stack 3, 2014
Ceramic
Jenna Richards: Stack 2, 2014
Ceramic
Nick DeFord: Home(Sick), 2010
Hand-embroidery, found map
Paul Loughney: Limitations of the Interior 1, 2011
Collage
Paul Loughney: Untitled, 2013
Paul Loghney: Commiseration Procession, 2013
Collage
Cara Sullivan: Untitled (Living Room), 2013
Silver gelatin print
Cara Sullivan: Untitled (Hallway), 2013
Silver gelatin print
Cara Sullivan: Untitled (Dining Room), 2013
Silver gelatin print
(The show was placed today. As soon as it is up, I will post images.)
Below is the announcement posted by Lori Neuenfeldt:
"HomeEc considers domestic influence in the work of Summer Carmack, Nick DeFord, Joe Ford, Rowan Haug, Paul Loughney, Jenna Richards and Cara Sullivan. The multi-media exhibition showcases photo-collage, ceramics, fiberart, photography and sculpture.
According to the show’s organizer, Adrienne Callander, 'Each artist references domesticity directly or indirectly, in content or process.' This can be done with materials, technique, or subject matter. For example Nick DeFord utilizes stitching and other craft methods to explore notions of identity and space while ceramicist Jenna Richards directly states the intent to use textile process and domesticity as inspiration for her pieces.
The exhibition is open June 1–28 in the Cullis Wade Depot Art Gallery, second floor of the MSU Welcome Center next to Barnes and Noble Bookstore. Gallery hours are Monday through Friday, 9 a.m. – 5 p.m."
The exhibition is open June 1–28 in the Cullis Wade Depot Art Gallery, second floor of the MSU Welcome Center next to Barnes and Noble Bookstore. Gallery hours are Monday through Friday, 9 a.m. – 5 p.m."
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