OtherPeoplesPixels Interviews Erik Geschke

Parts and Accessories, 2019. Installation view. Carnation Contemporary.

ERIK GESCHKE's sculptures are well-crafted, clean reproductions of symbolic objects that have a relationship to Western Modernity. He deftly uses dry humor, scale and material shifts and the language of museum display to entice the viewer into seeing familiar objects in a new light. Erik earned his BFA at Cornish College of the Arts (Seattle) and his MFA at Maryland Institute College of Art (Baltimore). He attended Skowhegan School of Painting and Sculpture in 1996 and Pilchuck Glass School in 1999 and has been an Artist-in-Residence at Vermont Studio Center (2001), Sculpture Space Inc. (2002), and Djerassi Resident Artist Program (2013). Erik's numerous exhibitions include solo shows at Cornish College of the Arts, ZieherSmith GalleryPacific Northwest College of Art, Pratt Fine Arts Center, Seattle Art Museum's SAM Gallery, and Vox Populi Gallery. Most recently, Parts and Accessories was exhibited at Northeastern Illinois University (Chicago) in 2018 and Carnation Contemporary (Portland, OR) in 2019. Erik lives and works in Portland, Oregon, where he is an Associate Professor of Art at Portland State University.

OtherPeoplesPixels: What role does artifice play in your work?

Erik Geschke: Artifice plays a central role in my work. The words art and artifice share the same Latin root, ars, which means both “skill/craft” and “trick/wile.” This connection influences how I think about the nature of art and what I do as an artist. When anything is represented or recreated, the artist asks the viewer for their willing suspension of disbelief, which allows the viewer to experience something unexpected. 

The use of this strategy to lure and entice the viewer into this suspension is very fascinating to me. I make work that can be deceptive or confuse the viewer. I want them to question what they’re looking at and what exactly “art” is and what it can be. I also want the viewer to consider the relationship of the art object to the abundance of human-made and naturally occurring objects that inhabit our world.  I do this by creating copies, surrogates and simulations of these identifiable forms with shifts in scale and material transformations. I use artifice as a means for the viewer to question both their perceptions and their understanding of the physical world.

Cracks in the Stable, 2015. Aqua Resin, fiberglass, pigment, and acrylic polymer.16” x 96” x 72”

OPP: Your work is definitely in conversation with Minimalist sculpture, while eschewing the non-contingency of Modernism. How informed are you by these art-historical precedents?

EG: My work is very informed by these art-historical precedents. When I was an undergraduate student the late 80s and early 90s, it had still been a relatively short period of time since Modernist thinking had fallen out of favor. It was often viewed with skepticism or derided. My references to Modernism and Minimalist sculpture, in particular, contain equal parts reverence and irreverence. Minimalism’s paring down of elements and elimination of non-essential forms and features aligns with with both my thinking and aesthetics. But I believe its attempt at an extreme form of abstraction that’s completely objective and non-referential is impossible and therefore a bit comical. There’s something so hopelessly idealistic about it, and I like to play off that in my references to minimalism. 

Accretion, 2013. Wood, aluminum, Aqua Resin, polyester resin, fiberglass, epoxy, hardware, and acrylic. 36" x 43" x 65."

OPP: What else informs your work?

EG: My work is also informed by human-made objects and structures of utility and their inherent symbolism and history. For this, I turn to the disciplines of industrial design and architecture. The work is informed by the ways we represent both ourselves and the natural world, so forms of simulation found in both cinema special effects and museum dioramas have been influential. Humor and satire are also present in my work and I attribute this to an early interest in cartooning and underground comics. Early on, I used humor as a way to discuss darker themes. The influence of cartooning can be seen in the way I render things, the odd shifts in scale and my simplified color palette. 

Arena, 2015. Wood, alkyd enamel, flock, felt, and vinyl. 3” x 64” x 64” (Detail)

OPP: Untitled (Social Engineering) (2011) and Untitled (Invidious Consumption) (2014) are connected through the form of the geodesic dome. What does this form mean to you?

EG: Growing up on the West Coast in the 70s and 80s, I encountered geodesic domes in a variety of contexts, from countercultural music events to a futuristic architectural experiments or school playgrounds. Later I came to understand its connection to Modernist architecture through the work of architect, designer and futurist R. Buckminster Fuller. While he didn’t invent the geodesic dome, he certainly popularized it. I consider this iconic structure to be a symbol, synonymous with Modernist concepts of progress, societal ideals and utopian aspirations. 

Untitled (Invidious Consumption), 2014. Hemlock, brass, and shellac. 36” x 72” x 72”

OPP: How do the materials in each of these works change the form?

EG: Untitled (Social Engineering) (2011) directly explores the structure’s connection with the utopian aspirations of Modernism coupled with the carnage of the 20th century, the same time period in which Modernism came to prominence. It’s made of 65 cast plastic human femur bones, both left and right, creating a macabre cautionary tale, calling attention to the irony that many of these utopian aspirations led to the dystopias of war and genocide, of which the 20th Century saw many. While the theme is dark, I rendered it at the scale of a child’s jungle gym and the bones are a pale white plastic, giving the structure an unthreatening toy-like quality.

The other geodesic dome piece I’ve made is Untitled (Invidious Consumption) (2014). I knew that I wanted to create a work that dealt specifically with the Modernist rejection of ornamentation in design. The inspiration for this concept came from reading the essay Ornament and Crime by Modernist architect Adolf Loos. In his essay, Loos criticizes the use of ornamentation in useful objects. Loos went as far as describing the presence of ornamentation as immoral and degenerate; a crime. To counter this, I made the iconic modernist structure out 65 lathe turned ornamental neoclassical architectural balusters made of Hemlock and connected with brass fittings. An odd dissonance was created by making the structure out of materials with a design that alludes to time prior to the Modernist era. 

Veneer, 2018, Wood, PVC, steel, hardware, and acrylic enamel. 96” x 96” x 72”

OPP: Another recurring element is the metal structure that for me evokes a billboard in Device (2015) and Veneer (2018). How is this “support” structure key to understanding whatever element it is holding up?

EG: These pieces explore the power dynamics of architecture. I’ve made a number of pieces over the years that utilize the billboard scaffold structure. Initially, I was drawn to the aesthetics of the structure and  the literal connection between its form and function. Prior to Device and Veneer, I had placed silhouette cutouts and text on the structures.I wanted to draw a parallel between the supported fragment of architecture and a billboard advertisement. Architectural structures can imply wealth, exclusivity and dominance. Having them also operate as a façade indicates how often times these displays of power and authority are in fact thinly disguised vulnerabilities.

I developed the concept for Device (2015) during the run-up to the 2016 U.S. Presidential Election, when the xenophobic rhetoric of “The Wall” first entered the public consciousness. The scaffold supports a fragment of a cinderblock wall. It calls attention to the symbolism of a wall as something that can be used to play upon the public’s primitive instincts and fear of the other. Placing it on a façade calls attention to the structure’s inherent weakness and limitation and exposes it as a mere rhetorical device. 

Veneer (2018), on the other hand, explores interior projections of wealth, power and authority through decoration with nods to Neoclassicism and its tradition. The piece symbolically represents the aristocracy. Mounted on the scaffold is a fragment of whitewashed, wainscoted, decorative wall. Its ostentatious design implies the ability to afford finery. The title alludes to the thin veneer upon which displays of wealth are often dependent. 

Parts and Accessories, Installation View, 2019, Carnation Contemporary.

OPP: Tell us about your most recent solo exhibition Parts and Accessories (Chicago 2018 and Portland 2019), which explored “issues surrounding class, dystopia, and modernity.” 

EG: When I started this body of work, I knew that I wanted to explore issues of class. Wealth inequality has reached levels that have not been seen since just prior to the start of the Great Depression. It’s reminiscent of a new Gilded Age. We are similarly seeing vast creations of wealth through rapid technological advancement in a system geared towards the consolidation of wealth into fewer and fewer hands. 

My work often employs the remaking of the recognizable and familiar. I specifically selected objects that symbolized either a sense of wealth and pedigree—an ornately wainscoted wall, a top hat, a gavel—or its opposite—workers’ hardhats, a humble throw rug or a bare suspended light bulb. I purposefully make things in an exacting way with refined surfaces that are largely devoid of expression. I do this as a way for the object to have a sense of anonymity, similar to mass-produced objects. 

Parts and Accessories, Installation View, 2019, Carnation Contemporary

OPP: Tell us about the arrangement of the objects in the exhibition space.

EG: I wanted them to confront the viewer upon entering the space. They are predominately displayed facing the entrance. With these symbolic objects representing different levels of class and authority, there is purposeful hierarchy to the arrangement. Objects in front were presented low to the ground with an increase in size and scale moving towards the back of the arrangement. With the exception of one piece—a solitary disposable coffee cup—all the objects are displayed on a pedestal or platform, isolating each object and calling attention to its cultural value or commodity. This orderly arrangement references both methods of museum and retail display. 

As with any issue I choose to explore in my work, I want to avoid being overly didactic and sanctimonious. I’m not looking to provide answers for the viewer, but rather to offer them something to ponder and consider.

Plot, 2018, Aqua Resin, fiberglass, and acrylic, 4” x 50” x 72” 

OPP: What’s your experience in the studio right after completing a solo show?

EG: I’m usually focused on cleaning up the aftermath. There’s always a push to meet an exhibition deadline and especially so when it’s a solo show. No matter the level of planning, discipline and time spent in creating a new body of work, art making is an inexact science. There’s usually a rush at the end when cleaning and organization fall by the wayside. As a result, the time immediately afterwards is spent literally picking up the pieces. Having done this for a while now, there’s a bit of a ritual to the process. After months of focusing on one end goal and activity, there’s an odd sense of quietness in the studio. This quietness coupled with cleanup and organization provides a good time to think and reflect. 

Creating my work is very time intensive and involves a great deal of physical and mental energy. I always need a period of recharge afterwards. I require time away from the studio, so I prioritize self-care and rest. I’m a full-time academic with an active professional career; work/life balance is often difficult to achieve. After finishing a big show, I need to spend time catching up with friends and exploring environs outside the studio. It’s vital. 

There’s also a period of time after being in production mode where there is a shift in focus from making to promoting what has been made. My work is primarily funded through both professional and academic grants and fellowships, so I have a cycle of production followed by exhibition, promotion, and securing the necessary funds for the next body of work. I’ve been fortunate in that new opportunities always arise, new ideas always present themselves, and the cycle begins again.  

In memory of Gerald Gilbert Geschke, 1931-2019

To see more of Erik's work, please visit www.erikgeschke.com.

Featured Artist Interviews are conducted by Chicago-based artist  Stacia Yeapanis.  When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations.  She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006. Stacia was a 2011-2012 Artist-in-Residence at  BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan, 2013), Heaven Gallery (Chicago 2014), Indianapolis Art Center (Indianapolis, 2017), Robert F. DeCaprio Art Gallery (Palos Hills, Illinois 2018) and Kent State Stark (North Canton, 2019). Her work was recently included in the three-person show Manifestations at One After 909 (Chicago).


OtherPeoplesPixels Interviews Krista LaBella

Venus Altarpiece, 2014. Inkjet print. Triptych (outer panels 24 x 36," center panel 26 x 38”)

KRISTA LABELLA is a "multi-media artist who embraces the voluptuous, fat, female body." The photographic works from I Am Venus (2014-2018) make references to early 20th century pinup girls, as well as art historical works like Ingres’ La Grande Odalisque (1814), Manet’s Olympia (1863) and Venus of Willendorf (estimated 30,000 BCE). She combines a feminist defiance with the objectification of the female body in order to destabilize Western, white beauty standards. Krista received her BFA from Hartford Art School and her MFA from Pratt Institute. In 2018, Krista had her first solo show Fleshy Fruitat Random Access Gallery at Syracuse University. In August 2019, she was an Artist-in-Residence at 77Artin Rutland, Vermont, and her work was included in a digital gallery in the exhibition Be Seen: Portrait Photography Since Stonewall at The Wadsworth in Hartford, Connecticut. She has been featured on the Headlining Humans YouTube Channel for #whyicreate series. Krista lives and works in Brooklyn, New York. 

OtherPeoplesPixels: Do you have a specific audience in mind? Do you think more about thin people, fat women or heterosexual men with porn-influenced expectations of women’s bodies?

Krista LaBella: When I began creating the photographs in I am Venus I didn’t have a specific audience in mind other than myself. I wanted to make something that was deeply personal to me but that I felt could speak to a broader female experience. It was less about targeting a specific audience and more about just disrupting the expected images of contemporary nude women that you normally see in advertisements, magazines, tv, porn and other media. At first, I started making photographs with props that were funny, trashy, bawdy, but these images never really came together. So I began dialing it back, creating simple compositions in my home, utilizing very few props and very little furniture. The only thing that really stuck were my stilettos. The use of the stilettos exuded femininity, power, sexuality and even violence. By keeping the sets simple and focusing on the colors and shapes of my body and the light, it made the work more about my body as a sculpture and about my gaze. 

Judgement Venus (Green Couch Selfie), 2014. Inkjet print. 22 x 30”

OPP: Talk about the Venus as inspiration for these images.

KL: When I was making these photos, I saw them as a performance of the Venus. They embody the female nude over the course of human history. I see my body at a contemporary manifestation of the Venus of Willendorf which, arguably (or maybe not) is the first piece of art ever created by humans. And looking at pastel nudes by Degas, the Grand Odalisque by Ingres, Rubens’ nudes, modern Pin-Up models, and all the countless nude female figures in the history of art, influenced my work significantly. I felt like I often channeled these other paintings into my work. For example, after I did a shoot in my bedroom I realized that I made a photo that felt very much like Manet’s Olympia—so I embraced the photo as the contemporary Olympia. 

It was only after  I did my first shoot for I am Venus that I realized that the intended audience for the work is the straight male and the purpose of the work is to deflect the male gaze. I always describe the phenomenon of my gaze in these works as: “I both invite and reject the viewer’s gaze: I gaze back knowingly, self-assured. I am both the see-er and the seen.”

Venus Window Selfies. 2014. Inkjet prints. Diptych, 20 x 30” each panel.

OPP: I’m curious about your use of the term “selfie” as opposed to “self-portrait.” I see these as very different—but obviously connected—genres of photography. The “selfie” denotes an amateur endeavor that wouldn’t exist without smartphones, while the “self-portrait” has a much longer artistic lineage. Does this distinction matter to you?

KL: The distinction between the traditional “self-portrait” and the “selfie” is not important to me. I realize that the “I am Venus” self-portraits are not true to the idea of a selfie. However, I do take all of the images alone, of myself, with a shutter-release remote with the intent to share with an audience so it felt appropriate for the work as the contemporary self-portrait. I was already aligning my body within the art historical lineage of the nude and I needed to break away from that a bit- I needed to remind people that this is relevant to today, that this is a quick snapshot in a broader context and a small flash in a series of hundreds of digital images. Using the term “selfie” doesn’t diminish the work or make it amateur because the content is still there. But it does recognize that this was created in a time where self-portraiture has taken a leap into the hands of the masses. 

Centerfold, 2012. mixed/ collage. 10.5 x 8 in (opens to 10.5 x 16 and 10.5 x 24)

OPP: What role does humor play in your work?

KL: I get this question a lot! I always speak about my work in a very serious way because it touches on a lot of current issues about body image, self acceptance, the expectations of the fat female body, and how we fit in society. But there is definitely humor in my work. Sometimes there’s an aloofness in my stare, sometimes I crush creamy doughnuts with my tits, sometimes I drape pearls all over my chest and title the photograph Pearl Necklace. There is need for some comic relief. These images are a representation of me, not only as the subject but also a reflection of my personality. I am serious and passionate about my work and the issues I make art about, but I like to laugh and I won’t apologize for my body. I like pushing people’s buttons and seeing how far I can take a tasteless sex joke in my work. It’s the layers of content, the seriousness and the jokes, and the art historical references that make the work interesting and not just another nude falling into the art timeline. 

Pearl Necklace and Peach, 2018. Instant photography. 9 photos 3.5 x 4.25” each, mounted to 16 x 20."

OPP: How did I am Venus (2017) transition into Pearl Necklaces & Other Objects (2018)?

KL: Pearl Necklace and Other Objects started as a joke. I was at an artist residency in the summer of 2018 and started making more Venus images, but they weren’t interesting anymore. I had carried pounds and pounds of glitter—leftover from a project that never came to be—with me to this residency, so I dumped it all over my chest and took about 20 images of my glittery chest with my Lomo’Instant Wide camera. I started taking hundreds of photos every day during the residency after lunch when the light was the best in my studio. The Lomo’Instant is great because it’s like a Polaroid camera, and the images just shoot out instantly. It was exciting, fast-paced, performative and almost sculptural. I would find things to crush with my bulbous breasts—they are huge! I would use  fruits with sexual meanings, like the peach, and cream-filled doughnuts. I would crush vaginal flowers, anything that had a sexual connotation was crushed or overtaken by my tits and photographed. I also would use items that represented femininity like pearl necklaces, vintage tea cups, lipstick, etc. It felt like the messier and weirder it was, the better the images came out. I had other artists in my studio constantly and whenever they asked me about these images, I would just tell them I was recreating traditional still-life paintings as sex scenes on my tits.

Cream Doughnut, 2018. Instant photography. 12 photos 3.5 x 4.25” each, mounted to 16 x 20."

OPP: Can you talk about the relationship of food and sex in this series? What does this work say about sexual objectification?

KL: Regarding the food specifically, I wanted to add food to my work for a long time. As a fat person, other people are obsessed with your eating habits and assume you must just eat trash constantly. Bringing food into the performance and the images made sense. It just took awhile to get there and make something interesting with it. I titled my first solo show Fleshy Fruit after I began this body of work. I see these images as a spiritual experience of excess, and of our insatiable appetite for food and sex. They reference food fetishism, porn, and cam culture. The viewer visually consumes, admires, and even worships the fleshy fruit that is Venus—me.

Untitled Venus (Red Couch Selfie), 2014. Digital photograph. Censored for Instagram 2018.

OPP: When I first saw your work on Instagram, I thought the cartoon “stickers” of cherries and peaches were part of the work, and I read it as a clever rebuke of censorship. Only later did I realize the fruits were an attempt to avoid being censored on Instagram. Can you talk about your experiences with censorship and sharing nude imagery on Instagram?

KL: Yes! The cherries and stickers on my work are my way of making the work “appropriate” for Instagram. This is an interesting question though because over time they do become part of the work. I choose the censor stickers  to be funny and/ or reference the body part they are covering up. Once the images exists in the world as a censored image in this way, it begins to take on a new life as a new work (and comments on society’s idea of modesty and outdated views of the body and feminine values). I am not thrilled that I have to censor the work, but in order to use the platforms, I do it. I find that even in my text and hashtags to go along with my images, I am “too explicit” by Instagram standards. I am often shadow-banned (taken out of public search results) as punishment for using hashtags that are not approved (#pussy is not well-liked by Instagram). 

Sliced Peach with Pearl Necklace (on a Silver Platter on a Rose Gold Sequined Wall), 2019.

OPP: What's going on in your studio right now? Are you pursuing any new directions at the moment?

KL: Right now I am really excited about what is happening in my studio! Pearl Necklace and Other Objects is evolving. I am introducing more materials and experimenting with the way these instant photographs are displayed. I have been collecting glittery and sequined fabrics in flesh tones and rose gold that I am beginning to cover the walls of my studio with. I have yards and yards of faux fur in shades of white, pink and black that I am excited to use in an installation in some way. I also have been collecting silver platters and placing sexy images of my tits on these platters instead of framing them. I am interested in pushing the tackiness and trashiness of the work to the max to see where it takes me.

To see more of Krista's work, please visit kristalabella.com

Featured Artist Interviews are conducted by Chicago-based artist  Stacia Yeapanis.  When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations.  She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006. Stacia was a 2011-2012 Artist-in-Residence at  BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan, 2013), Heaven Gallery (Chicago 2014), Indianapolis Art Center (Indianapolis, 2017), Robert F. DeCaprio Art Gallery (Palos Hills, Illinois 2018) and Kent State Stark (North Canton, 2019). Her work was recently included in the three-person show Manifestations at One After 909 (Chicago).


OtherPeoplesPixels Interviews Michelle Murillo

Destinations (detail). Screen print on glass. 50 glass post cards. 3.5" x 5.5" each.

In MICHELLE MURILLO's work, water is a recurring metaphor for migration, and her ancestors' identification cards and passports are a poignant visualization of her own DNA test results. She combines the repetition inherent in printmaking with the spirit of archiving and mapping to explore the relationship between ancestry and identity. Michelle holds a BFA from Boston University and a MFA from the University of Alberta, Canada. She exhibits internationally, including shows in China, Argentina, Ireland and Canada. In 2018, her solo exhibition Adrift was on view at Museo de Prehistoria y Arqueologia de Cantabria (Santander, Spain), and she was an Artist-in-Residence at Edition Basel at Kaskadenkondensator Gallery (Basel, Switzerland). In 2019 her work was included in Aperturas, a satellite group show of the Havana Biennial (Cuba). She was a 2018-19 Affiliate Artist at Headlands Center for the Arts (Sausalito, California). Michelle lives and works in Oakland, California.

OtherPeoplesPixels: What do you love about printmaking? Is there anything you hate about it?

Michelle Murillo: I am drawn to print because it is a versatile set of media that can be combined with other forms such as drawing, photography, textiles and glass to create hybrid works or prints alone. I enjoy every aspect of it. The process inherent in print lends itself to a methodical way of making that allows an image to develop over time. While some people may find these aspects constraining, I also welcome the possibility that missteps or failures in the technique can present unexpected outcomes that I would not have envisioned if it were not for the transformation that an image undergoes through printing. 

Plotting Transience, 2015. Kilnformed glass, vellum, chalk, map pins. 13' x 10' wall, 13' x 10' floor.

OPP: In your solo show A Measure of Time (2015), you use various methods and media to visually represent your “conservative, standard and speculative” DNA test results. How do the works in the show reveal your understanding of identity?

MM: As an American of Irish and Colombian descent, I have always been interested in how one defines and creates their identity through place, culture and politics. Broadly, the show presented what I discovered from the DNA test, and it attempted to acknowledge the intersections between ancestry and identify. I translated this into visual form by using the DNA data along with documents from my family archive to create metaphorical maps that tell a story about my ancestor's origins. 

A fascinating aspect of the DNA testing is that the results continue to shift over time as the database and technology evolves. A few years ago the percentages were different, some information fell away while new details emerged. With this realization I wanted to visually record the shifting information. The piece DNA Map for a Shifting identity is comprised of shapes that represent the geographic regions of my lineage. Each region is represented by a unique color that corresponds to a map key. The transparent regions on the wall represent the increments and geographic regions that have fluctuated in the results. 

Michelle Murillo, 2011. Glass Driver's License (screen printed and fused powdered glass). 2" x 3.5"

OPP: Can you talk about your use of multiples in Waypoints? What role does variation play in this work?

MM: The use of multiples and repetition of the identity cards is used to map the "conservative" version of my DNA test results. I chose family identification cards to represent specific lineages- British/Irish, African and Native American. The sum of the known percentages totals 86%, leaving 14% unaccounted for. Therefore the piece is comprised of 86 prints and 14 empty standoffs. Variation is visible in the unique and slightly different impressions made by the process of screen printing with powdered glass. This variability suggests that identity is mutable and in flux just as the DNA test shows.

Waypoints, 2015. Powdered glass screen prints. 2x3.5," 3x4.5," 4x6.5" each.

OPP: I’m interested in how artists—myself included—often get something out of a project that is different than what is in the artist statement. In archiving your family’s passports, ID cards and other documents in etched glass, are your personal motivations the same as your artistic motivations?

MM: My creative practice is grounded in research that drives both content and form, so in a sense the motivations are the same. This work is inspired by my curiosity to know more about my family history and it represents material investigations across print and glass that I explored during a residency at Bullseye Glass. By archiving my family documents in a fragile material like glass, there is tension created between preservation and loss, which is a recurring theme in my work. The translation of the documents into another form can take on new meaning and depth as interpreted by the viewer. 

Adrift: 1979, Rosalba Llanos de Muñoz. Digital decal print, sandblasted glass. 36 x 21"

OPP: You've just spent a year as an Affiliate Artist at Headlands Center for the Arts. Tell us about your cyanotypes of the San Francisco Bay. How does the medium of cyanotype support your conceptual concerns?

MM: The work created at the Headlands continues to explore ancestry through the theme of migration, specifically the journeys of my great grandmothers. Map of Migrations is created from photographs of observations of the San Francisco Bay. Looking east into the bay, the images of water are the first impressions one has as they pass through the Golden Gate Bridge and arrive at the California shore. 

Historically the cyanotype was used in the 19th century to reproduce diagrams commonly known as blueprints. The Prussian blue of the photochemical process is befitting of the water vistas and like nautical navigation charts the cyanotypes become blueprints of passage through the Golden Gate. In this work, water is the liminal space, in between continental geography and a vehicle for travel, navigation and migration. 

Cyanotype, screen print. Site specific installation, Headlands Center for the Arts

OPP: Certainly the conclusions you draw about your own ancestry are both specific to your family and not unlike the stories of many Americans. Do you have any interest in exploring the DNA results or migratory histories of other people?

MM: The DNA test revealed that I am more of a global citizen than I could have ever imagined, and I still feel that I only know what is at the surface. Diving deeper into my ancestry takes me to Ireland, Great Britain, Spain, Colombia and West Africa, among other places. I think there are global through lines and connections to be found that will lead me to other people's histories. As I research I realize there is more to learn about migration and the circumstances that led people to uproot their lives. We are interconnected as a global community, and I find our shared history intriguing. 

100 Sons and Daughters. Screen prints. 6' x 25'

OPP: You've mentioned that you are in the early stages of putting together a solo show and residency in Cork, Ireland, where some of your ancestors lived. Tell us about this upcoming project and what you are planning. 

MM:  I plan to embark on a project that follows the traditions of craft from my ancestors to the present. My ancestors from Cork, Ireland were blacksmiths, shoemakers and cooks. I am in the early stages of piecing together all of the parts, and perhaps the show will include an oral history and work I make on site to create a portrait of the place that my ancestors once called home.


To see more of Michelle's work, please visit michellemurillo.net.

Featured Artist Interviews are conducted by Chicago-based artist  Stacia Yeapanis.  When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations.  She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006. Stacia was a 2011-2012 Artist-in-Residence at  BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan, 2013), Heaven Gallery (Chicago 2014), Indianapolis Art Center (Indianapolis, 2017), Robert F. DeCaprio Art Gallery (Palos Hills, Illinois 2018) and Kent State Stark (North Canton, 2019). Her work was most recently included in the three-person show Manifestations at One After 909 (Chicago).

OtherPeoplesPixels Interviews Donté K. Hayes

Motherboard, 2018. Ceramic, Underglaze, Glaze.13" x 8" x 5"

Influenced by science fiction, history and hip-hop, DONTÉ K. HAYES works in the spirit of Afrofuturism. His hand-built ceramics allude to the black body through texture and color, while his titles refer to both the imagined possibilities and the historical truth of the African Diaspora. Donté earned his BFA in Ceramics and Printmaking at Kennesaw State University in Georgia and is currently an MFA candidate at The University of Iowa. In July 2019, he was an Artaxis Fellow at Haystack Mountain School of Crafts and he received a Zenobia Award to attend Watershed Center for the Ceramic Arts, where he is currently in residence. Funkadelic Awakening: A Futuristic Resistance, a three-person show with Featured Artist Jennifer Ling Datchuck and Salvador Jiménez-Flores, just closed at The Clay Studio in Philadelphia. Donté has three works on view in the DUMA Biennial—juried by Sarah Humphreville, Senior Curatorial Assistant at the Whitney Museum—at the Dubuque Museum of Art through September 8, 2019, and he will have solo exhibitions at Garner Narrative (Louisville, Kentucky) and Iowa Ceramics Center and Glass Studio (Cedar Rapids, Iowa) in 2020. Donté lives and works in Iowa City, Iowa.

OtherPeoplesPixels: When did you first begin working in ceramics?

Donté K. Hayes: In 2015, I went back to college in my late 30s to study Drawing, Painting and Printmaking at Kennesaw State University in suburban Atlanta. I needed a three-dimensional art class to meet the requirements for a BFA in Printmaking, so I decided to take Ceramics 1. 

Empire Juice, 2018. Ceramic, Underglaze, Glaze, Gold Luster, Colored Rubber. 11" x 12" x 6"

OPP: What do you love about clay? 

DKH: My love of clay came immediately because the material forces you to remember that you are not in control, especially on the potter’s wheel. I’m definitely not a potter. Creating in clay is hard and challenging and registers the history of my hands throughout the working process. I enjoy the ritual of my hands and clay becoming one through the process of repetition, texture and pattern when making a ceramic object. Clay takes me places in the past, brings clarity to the present and takes my thoughts and desires to the future.  

True Kingz Series: Original King, 2019. Ceramic, Underglaze, Glaze. 11" x 13" x 10"

OPP: What are your favorite sci-fi texts?

DKH: Growing up, I was a big comic book and sci-fi nerd. My favorite comic books were from the Marvel Universe. I collected all the Spider-Man books, AvengersX-MenX-Factor, and my favorite being Black Panther. I’ve been a Black Panther fan way before the movie. Stan Lee and Jack Kirby nurtured my love for art and storytelling. Black Panther showed that a black man can be a strong leader, intelligent, and a hero for his people and all of humanity. Ray Bradbury’s Fahrenheit 451 continues to resonate with me and how I perceive the future and present day. For example, the “parlor wall” is eerily similar to the flat screen television or cell phone which promotes the propaganda and news of the day. The movies that have influenced my concepts of the future are the Star Wars saga, the German dystopian movie Metropolis and Gattaca. My favorite television shows are the Star Trek universe, specifically Star Trek: Next Generation, and Dr. Who.

OPP: And your Afrofuturist influences?

DKH: My Afrofuturist influences come from Sun RaGeorge Clinton and ParliamentOutkastWu-Tang ClanA Tribe Called QuestThe Roots. Also the British-Ghanaian writer Kodwo EshunW.E.B Du Bois, and Ralph Ellison’s Invisible Man

Dalek, 2018. Ceramic. 16" x 13" x 13"

OPP: Your all-black, textured ceramics are really exciting because they resist being static objects. Some have clear cultural references, for example, Dalek. Others, like Baby Boom and Seed, feel like abstractions. Are all of these based on the symbol of the pineapple? What's compelling about this symbol for you?

DKH: Yes, they are first based on the pineapple and then connected to my own influences and thoughts. The use of the pineapple is very important to the work. I’m from Atlanta, Georgia, and the pineapple is a prominent symbol in the south. I have always been fascinated about its origin as an icon for welcoming and hospitality. 

Currently, I am a third-year graduate student at the University of Iowa. Moving from Atlanta to Iowa City has been a hard adjustment. As an African-American and a person of color in a non-diverse city, I’m confronted with the rituals of creating a hospitable environment in my everyday routine. The pop cultural references bring the pineapple symbolism to the present day. For example, Dr. Who’s Daleks are a fictional, extraterrestrial race whose purpose is to “exterminate” all life in the galaxy they deem inferior. Works like Baby Boom and Seedexplore the narrative of how the cultivation of the pineapple created a boom of wealth and power from the blood and backs of enslaved people, while also speaking to the continued contribution of black people and people of color to growth and change in society. The human desire to find a place to belong and call home is universal.

Welcome, 2018. Ceramic. 18" x 16" x 13"

OPP: In looking at works like ArrivalWelcomeNo Welcome and Dalek, I’m thinking a lot about what could have happened, had European explorers had the Star Fleet’s Prime Directive, and what did happen—i.e. the violent conquest of non-Europeans, the theft of territory, the pillaging of natural resources and the enslavement of Africans in the Americas. How do these works speak to the historical truth and the speculative possibilities of first contact?

DKH: The sculptures you mentioned are about people of African descent during the Middle Passage. The Middle Passage was the forced voyage of enslaved Africans to the New World as part of the Atlantic slave trade. Through my research, I have learned that the origin of the pineapple as an symbol of welcoming and hospitality is rooted in slavery and agricultural colonization of the Caribbean, South America, and the Southern United States, in particular, South Carolina and my home state of Georgia. When a new slave ship bringing enslaved Africans docked at the port, the dock foremen would place a pineapple at the front of the dock to announce that a new shipment of enslaved Africans had arrived. Thus creating the pineapple as a symbol for welcoming. 

To further the concept of welcoming, I wanted to create a texture that reinforces the tactile feeling of being warmly embraced. Each sculpture is inspired by the textures in raffia, hair, fabric, carpets and tapestry. These ceramic objects are vessels, each making symbolic allusions to the black body. So through this work, I’m reinterpreting past history to critique the present and give hope to the future. 

True Kingz Series: Wise King, 2018. Ceramic, Underglaze, Glaze. 13" x 9" x 6"

OPP: How do the True Kingz connect the West African tradition of Benin Heads to American Hip-Hop?

DKH: The Benin Heads are Oba, which means ruler or king. Each Benin head was a portrait of how that king wanted to be represented to the masses. The strength of a king is how they can inspire or be the voice of a nation. In the history of hip-hop, the M.C. or master of ceremony has become a cultural king who speaks to this generation’s pain, joy, desires and interests. Hip-hop has become the voice of the people who listen and are inspired by its music. However, not all kings are wise, thoughtful and benevolent to their constituents. Likewise, there are criticisms that can be made about some of the misogyny, violence and glorification of money and materialism in Hip-Hop culture. The True Kingz series is a nuanced physical legacy of the good and the bad in empire worship. 

Afrodisiac, 2018. Ceramic, mason stain, acrylic. 20" x 13" x 15"

OPP: Afrodisiac (2018) stands out visually from all the other sculptures. Is this a one-off or a new direction?

DKH: Afrodisiac is a transitional piece that bridges the True Kingz series and my abstract pineapple sculptural forms. I was at the early stage of my research, so the work is made in a very literal manner. The work is informed by the art historical painting by French Canadian artist François Malépart de Beaucourt, titled, Portrait of a Haitian Woman (1786). This painting is believed to be created in the French colony of Saint-Domingue—now Haiti—before the revolution. The painting depicts an enslaved African woman holding a bowl with pineapple and other fruit while one breast is exposed and hanging out of her dress. The work speaks on multiple levels to past and present depictions of black women in art history. Both the pineapple and the black woman have been used to portray the exotic, status, wealth, power, and abundance. I wanted to create a sculpture which elevates the black woman’s importance as the origin of life and symbol of unconditional love and strength. 

To see more of Donté's work, please visit www.dontekhayes.com.

Featured Artist Interviews are conducted by Chicago-based artist  Stacia Yeapanis.  When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations.  She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006. Stacia was a 2011-2012 Artist-in-Residence at  BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan, 2013), Heaven Gallery (Chicago 2014), Indianapolis Art Center (Indianapolis, 2017), Robert F. DeCaprio Art Gallery (Palos Hills, Illinois 2018) and Kent State Stark (North Canton, 2019). Her work is included in the three-person show Manifestations, on view at One After 909 (Chicago) through July 13, 2019.


OtherPeoplesPixels Interviews Yvette Kaiser-Smith

Wide Ruled: 72535. Two sheets of transparent light bronze and one sheet of matte citrus yellow laser-cut acrylic, nylon spacers, and capped hardware. 23" x 33.375" x 1.5." 2017.

The aesthetics in YVETTE KAISER-SMITH’s abstract work are driven by a deep love of mathematics. In crocheted fiberglass and layered, laser-cut acrylic, she often uses the famous irrational numbers Pi and e as guides to generate patterns, color and form, underlining the presence of math in our world. Yvette earned her BFA at Southern Methodist University (Dallas) and her MFA at the University of Chicago. She exhibits internationally, and her work is included in numerous public collections, including Ukrainian Institute of Modern Art (Chicago), Lubeznik Center for the Arts (Michigan City, IN) and the U.S. Embassy in Abuja, Nigeria. Opening July 16, 2019, her work will be part of BRIDGES LINZ 2019 - Mathematics, Art, Music, Architecture, Education, Culture at the Johannes Kepler University Uni Center in Linz, Austria. Through Artist Residency Vishovgrad. International (ARV.I), Yvette will spend August 2019 in a small village in central Bulgaria, followed by solo exhibition of new work at Gallery Heerz Tooya (Veliko Tarnovo, Bulgaria). Yvette lives and works in Chicago.

OtherPeoplesPixels: Talk to us about the famous irrational numbers Pi and e. Why do these numbers continue to show up in your work after all these years? 

Yvette Kaiser-Smith: My wall-based, crocheted fiberglass constructions were initially based on identity narratives. In 2001, while looking for a way to randomly punctuate a rhythm within a group of 80+ small units, my math-nerd husband pointed me towards pi. I realized then that numbers are in all aspects of identity and math structures became part of my conceptual toolbox. Since 2007, all my work has been number generated.

Both pi and e are numbers with infinite number of digits where the pattern never repeats.  So, as pi and e are my source material, these numbers that go on forever without repeating, present possibilities of creating an infinite number of new original patterns and spatial relationships. And, math is beautiful.

Identity Sequence e 4. Crocheted fiberglass with polyester resin. 121” x 117” x 8." 2007.

OPP: Is mathematics the content in your work or means to an end?

YKS: Both. I devise systems for visualizing digits of specified sequences. In the crocheted fiberglass works from 2007 and after, this is direct, thereby more obvious and readable. Always as means to an end. Numbers are the works’ referent, their source of abstraction. I use specified sequences as a boundary for experimentation with intent to create new and unpredictable forms and patterns within the scope of minimal, geometric language.

Identity Sequence e 4, which is a grid of 17 rows and 19 columns, is constructed from 323 small units to straightforwardly spell out the first 33 digits of the number e. Reading left to right and top to bottom, pale neutral tone units directly articulate each digit, and fully-saturated colors mark the space between them. 

In more active sculptural forms, a direct, topographic method maps numerical value relationships as spatial relationships. Etudes from Pi in 5 Squared is based on the first 25 digits of the number pi. Reading left to right and top to bottom, a grid organizes 25 units into 5 rows and 5 columns. Curved units alternate from convex to concave. Here, the value of the digit determines the depth of each individual unit’s curve.

Etudes from Pi in 5 Squared. Crocheted fiberglass with polyester resin. 72” x 191” x 33." 2011.

OPP: Can you give us an example of an even more complicated system.

YKS: Lifesaver Movement in e uses two systems that directly reveal numerical values and one to distribute color in a seemingly random pattern. In 30 squares, reading e from the beginning, each square spells out a digit in binary code via the crochet tradition of filet charts. Filet charting is based on patterns created on a grid, where squares are either filled or left open to create an image. The sequence continues to break the line of 30 into groups, floating or dropped. This short sequence is 266249, so you see 2 squares up; 6 squares down; 6 squares up; and so on. I continue to use the sequence to drop placement of color. White was color #1; sequence following 249 in eis 7757; count 7 spaces, white; count 7 spaces, red (color #2); keep running the sequence left to right until all blocks have color.

Lifesaver Movement in e. Crocheted fiberglass with polyester resin. 55 inches x 111 feet x 4 inches. 2014.

OPP: When I first encountered your crocheted fiberglass sculptures, a big part of my excitement was in the soft, flexible structure of the crochet made hard and unyielding. When did you first start using crochet in your work? Have you always preferred hard structures to soft ones?

YKS: During grad school, I constantly tried new materials—sheet metals, wood, wire, rawhide, beeswax—never committing to one. In 1994, I purchased a spool of continuous fiberglass roving, but my trials were unsuccessful, and the spool got shoved under a table. Late one night in 1996, about 1 am, as I hurried past the meat counter at Cub Foods, I saw tripe and stopped in my tracks. My mind flooded with ideas. I saw tripe, I saw fat and lace at the same time. I saw beauty and ugliness in the same form, and immediately I saw a use for that spool of fiberglass roving. I associated lace with crocheting and bought a basic instruction book on how to crochet baby booties and potholders and assorted crochet hooks. A crocheted fiberglass exploration began then and kept me fully engaged until end of 2015. So, how did crochet enter my work? Call it rigorous studio practice or better yet, serendipity.

Untitled. Screenprint. 2016.

OPP: Did you get tired of crochet?

YKS: The crocheted fiberglass material process is labor intensive and physically demanding. I was tired of working in chemicals, tired of sanding fiberglass, but I had no plans to abandon a process I developed over a span of 19 years. Again, serendipity directed the change. Or just call it life.

A wall in my studio was falling apart and had to be rebuilt. Multiple issues stretched what should have taken five-weeks into a two-year job, during which my workspace was a construction zone full of dust and a pile of bricks.  

In early 2016, I took advantage of this unexpected loss of studio by participating in Hyde Park Art Center’s Center Program. Center Program’s goal is to push artists outside of their comfort zones in creation of new works though mentorship, sharing, critiques, a free class and access to Polsky Center’s Fab Lab which is a small but awesome maker space that includes a laser cutter. I entered with intention to transition the math to drawings. Late in the program, while working on my first series of screen-prints, I also qualified on the laser-cutter. The math-mapping system I was using in the print lab was a natural to transition to laser-cut acrylic. And a new obsession began.

pi x 5s (50792). Matte Caribbean blue, transparent yellow, and matte white laser-cut acrylic, nylon spacers, capped hardware. 23" x 17" x 2.25." 2018

OPP: What does laser-cut acrylic allow you to do that crochet could not?

YKS: Every material has its own way of articulating specific things. Crocheted fiberglass and laser-cut acrylic lend themselves to different ways of visualizing digits in their own respective languages. The pi x 5s laser-cut acrylic series systematically maps 5 digits from pi. Here, the value of 4 digits determines diameter of half-circles cut from small panels and the 5th digit moves one by a specific increment. Because no sequence in pi repeats, as I expand this series by following the number in sequence, this system can create an infinite number of unique works.

So far, I’ve only tried three math-mapping systems. Each new one is a reaction to an aspect of its predecessor, and the work is now pushing me to make my hand more visible by adding a hand constructed, non-acrylic element to the acrylic geometric works. These future, still mysterious constructions will need to develop their own language of mapping math, leading to new challenges and new possibilities.

Lake Street 1467. Digital pigment print on transparency film, laser-cut acrylic, polycarbonate spacers, mixed hardware. 23.5" x 21.375" x 5." 2019.

OPP: Recently, you’ve shifted from geometric abstraction into photography. Geometry is still at play, but these are photographs of existing spaces—often under train tracks in Chicago. What led to this shift?

YKS: It’s not a switch but a sidebar. This project was meant to be a one-off adventure with maybe 12 works but finished with 32. Whether photographic or created with Adobe products, images printed on film or clear acrylic, will make their way into the math-based, laser-cut acrylic work, eventually.

The time-consuming nature of crocheted fiberglass work and the privilege of having studio 37 steps from my home, kept me property-bound for a large part of 20 years. In 2016, my city driving increased with weekly treks to Hyde Park for Center Program and later to Polsky Fab Lab. I also joined the 21st century with purchase of a smart phone.

Sitting in rush hour traffic, I began noticing Chicago’s geometry, and then framing geometric abstraction in square and rectangular formats from the driver’s seat of my truck. I developed an obsession with Lake Street and the extreme vanishing point anchored by the elevated Green Line tracks. I have hundreds of cellphone snapshots.  I started sharing a few on social media. A friend noticed and included the Lake Street images in a photography group show proposal conceptually based on borders. In addition to the physical and conceptual borders captured within the image itself, I approached the concept of borders from a place of memory. Probably because, as artist, I have collected hundreds if not thousands of 35mm slides, photographs as records of inventory, and that iPhone image files limit the print size, and that I am currently working with laser-cut acrylic, reference to film and slide mounts became the starting point of presentation for this project. 

From e . . .71456. Panel 3 detail. Crocheted fiberglass with polyester resin. 2011

OPP: And there is a material trajectory that connects this photographic work to all your work.

YKS: As a sculptor, I needed to push these photographs just over the line, into the realm of sculptural objects. I unwittingly gravitate towards transparency. I transitioned from translucent crocheted fiberglass to drawings on matte and clear Dura-Lar to laser-cut translucent or transparent acrylic sheet, so presenting photographic images printed on clear acrylic and transparency film was natural. As artists, no matter where we go (within our studio practice), there we are.

To see more of Yvette's work, please visit yvettekaisersmith.com.

Featured Artist Interviews are conducted by Chicago-based artist  Stacia Yeapanis.  When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations.  She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006. Stacia was a 2011-2012 Artist-in-Residence at  BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan, 2013), Heaven Gallery (Chicago 2014), Indianapolis Art Center (Indianapolis, 2017), Robert F. DeCaprio Art Gallery (Palos Hills, Illinois 2018) and Kent State Stark (North Canton, 2019). Her work is included in the three-person show Manifestations, on view at One After 909 (Chicago) through July 13, 2019.


OtherPeoplesPixels Interviews Christopher Lin

What do you call the world? 2019. Installation.

CHRISTOPHER LIN combines organic materials—plantssoilteethhair—with synthetic and technological materials like polystyreneelectrical cords and LED lights. His sculptures and installations are thoughtful arrangements of found objects that make the familiar just unfamiliar enough to elicit contemplation. . . of climate change, of the impermanence of the body and self, and of the contemporary human condition. Christopher earned his BA at Yale University and his MFA at Hunter College. In addition to numerous group shows throughout the five boroughs, he has had solo shows at Art Bash and Ray Gallery, both in Brooklyn, as well as Thomas Hunter Project Space at Hunter College. He received the C12 Emerging Artist Fellowship in 2016 and is currently an Artist-in-Residence at the Hercules Art Studio Program. His work will be included in The Lovely Wild, curated by Jenn Cacciola and Frank Sabatté. The show opens on Sept 12, 2019 at Church of St. Paul the Apostle through Openings Collective. Christopher lives and works in lives and works in New York. 

OtherPeoplesPixels: I see an underlying buddhist perspective in your work. There are also overt references to the dharma, Zen koans, the breath and the mandala. How does Buddhist practice and/or philosophy inform your work?

Christopher Lin: Yes, there is absolutely a Buddhist influence within my work. Part of this comes from an indirect, cultural relationship. I grew up in a home with underlying Buddhist influences and observances (i.e. maintaining an altar to ancestors and burning incense), though my family never dictated my experience with religion. The other part comes from a personal desire to understand and address spirituality in my own experience. I am lucky to have been able to search for my own understanding of spirituality free from strict direction which led me to explore and define my own system of belief throughout my childhood. I identify more now as a student of Buddhism as a means to better understand abstract ideas such as the human condition. What is it that we are doing here and why? How do we make sense of this world filled with chaos, suffering, and violence? How do we find balance and equilibrium within ourselves and our environment? These are common questions amongst all people, but something that I've found is investigated more directly through Buddhist teachings.

Modern Dharma, 2016. Pencil on index cards (full transcription of Thich Nhat Hanh's "Peace in Every Step"), Buddha's Hand citrons, and lap desk. 24 x 14 x 12 inches.

OPP: There are repeated references to the body through its material castoffs, like hair and skin, and the marks it makes. In recent years, there’s been a trend in work that explores identity through the vehicle of the body, but I don’t think that’s the case here. I think your work is more about the experience of having a body, rather than the interpretations we add to those bodies. What are your thoughts on this? What keeps you returning to the body as a subject?

CL: I think this is a particularly keen reading of my use of body! I’m interested in investigating the human condition. The realization of the dissolution of selfhood and identity is a recurring theme in my works involving the body and perhaps stems from explorations of Buddhist understandings of the ego. I am more interested in how the idea of identity falls apart once we start to inspect it a little further. The molecules that make up our bodies—what we define as us—are constantly changing as we maintain our life processes through consumption and excretion, through breath and contact. What is at one instance us—our hair, our skin—suddenly becomes no longer ourselves through natural processes. And what was once another being—a plant, a cow, the minerals in the water we drink—is incorporated into our cells through consumption and integration. Furthermore we ourselves are ecosystems containing more cells of independent microorganisms numerically than our own human cells! 

Excoriate, 2015. Glue, skin, hair, and gut sutures. 1 x 48 x 36 inches.

Works like Excoriation (2015) present the self through the form of a molting, making evident the exchange of cells that were previously me but upon shedding become a spectral representation of the past. The sloughing of hair and skin cells is one reference to the nature of our temporality. Effigy (2013) is a meditation on my inevitable end. It was a way for me to contemplate the passing of time and dissolution of my own image through the slow burn of sandalwood incense. The collapse of the physical form through the burning gives way to another manifestation of scent and smoke which are briefly captured by the bell jar hung above, making evident a kind of phase change. 

Effigy (performance), 2013. Sandalwood incense, glass bell jar, rope, and pedestal.

OPP: How does “environmental anxiety” show up in your work?

CL: I try to address the current condition of environmental anxiety on a primary level through my material choices. I use found polystyrene ironically. This ubiquitous “archival material" is essentially throw-away packaging. Many works contrast organic and synthetic materials. This can be seen in 1up (2017): a dead and decayed tree on a piece of AstroTurf which appears to be resurrected by the balloon tied to it. Calcification (2018) is more direct: bleached brain coral and sand dollars are organized on a banker’s table like stacks of coins. This tableau links economy and capitalism to the destruction of organisms and habitats, pointing to the failure of our purely rational economic systems. The work poses the question: What is the value of a life, of a habitat, of an interdependent system?

Untitled (Deep Clean), 2016. Graphite on nautilus shell, cotton swabs, ear wax, and polystyrene.10 x 7 x 3.5 inches

OPP: Can you talk us through some works that address complicity and climate change?

CL: Conceptually some of my works attempt to understand levels of complicity with regards to climate change. What role do you or I play in the slow inevitable lurch towards global warming and carbon imbalance? Loaded objects like the air conditioner in Monolith (2015) point a finger at modern habituations and what we have created as our new “normal” living conditions. The ink-loaded bubble solution in Rupture (2015) and Where we begin and end (2015) draws a line between pleasure and beauty and its consequences, likening the blackness of ink to the blackness of oil. These two works depend on conscious and unconscious participation to generate this sense of complicity. Viewers actively blow bubbles to create the mural in Where we begin and end and unintentionally activate the motion sensor which controls the bubble machine in Rupture

Terra nullius, 2016. Globe, belt sander, sanding sponge, grooming table, and extension cord.

OPP: What sensation were you most hoping to evoke for viewers in your recent solo exhibition What do you call the world? (2018)? Can you talk about the symbolism in the objects included in the room?

CL: I conceived of this installation as an exploration of aspects of relativity. On the surface, it was a relative shift of gravity through the flipping of objects from the floor to the ceiling. The room was bathed in the magenta light of the grow lamps, which allowed the peace lilies to grow in an isolated, windowless environment. Viewers experienced a relative color shift after spending just 10-15 seconds in the installation. The eyes would accommodate the intense color, and the brain would adjust the sensation of color to appear normal even within the intensely pink light. One would begin to see greens in the leaves of the plants even though no green light was present in the room! When leaving the room, the color generated from regular light would appear intensely green until the eyes and brain could reacclimatize to neutral lighting. 

Conceptually I was interested in layers of artifice that allow us to perceive reality and how that relates to our contemporary experience of the world. Our brains are powerful intermediaries and interpreters of reality. What we initially find jarring in its unfamiliarity quickly becomes natural and a new normal. A grow room—one of the few ways to sustain plants in the darkness of the urban New York environment—is a strangely synthetic but natural space. I wanted to point a finger at the sci-fi artifice of the modern urban condition. The objects within the room highlight these ideas. A clock with a reversed dial runs counterclockwise such that the time is still accurately reflected. A torn quotation from a Calvin and Hobbes strip about personal gravity appears both right-side-up, yet upside-down. 

A shelf of books suspends source material and relevant readings: a NASA study analyzing and ranking various plants as air filters for space travel, The Biosphereby Vladimir Vernadsky, Vibrant Matter by Jane Bennett, The Interaction of Color by Josef Albers, and Chromophobia by David Batchelor, amongst others.

Wishing Well, 2014. Inflatable swimming pool, water, and ink. 66 inch diameter.

OPP: Your work is both poignant and clever—that’s a hard balance to maintain. Too much cleverness can tip into insincerity; too much poignancy can turn to sentimentality. I think you are able to strike the perfect balance. What do you think of this assessment of your work?

CL: Wow thanks! This is a very generous assessment of my work, and I’m really glad that you read it this way. The intention in all my work is to strike a balance between the known and the unknown. In the spirit of empathy and shared experience, I offer some familiar object or idea as an entry point, then make that starting point unfamiliar through recontextualization. I think at its core this is kind of a Surrealist move. I think the goal of artwork is to allow people a way to approach what they think they know a little differently. But it is important to start somewhere authentic, a real feeling that is deep and generative. As you said, the cleverness of an idea can often deaden a work and make it feel contrived or distant. I think this relates to the push and pull between irony and sincerity in art. An extreme on either side comes off disingenuous or disaffected. I think ultimately the goal of my work is not to find a clear or concrete answer to any of the questions I'm investigating, but to open up a topic or an idea for further personal examination. 

Too see more of Christopher's work, please visit christopherlinstudio.com.

Featured Artist Interviews are conducted by Chicago-based artist  Stacia Yeapanis.  When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations.  She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006. Stacia was a 2011-2012 Artist-in-Residence at  BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan, 2013), Heaven Gallery (Chicago 2014), Indianapolis Art Center (Indianapolis, 2017), Robert F. DeCaprio Art Gallery (Palos Hills, Illinois 2018) and Kent State Stark (North Canton, 2019). Her work is included in the three-person show Manifestations, on view at One After 909 (Chicago) through July 13, 2019.


OPP Featured Artists at Facebook

Steven Vasquez Lopez
Written on the Wall, 2018. Facebook Menlo Park, San Francisco.

Last summer I was invited to be an Artist-in-Residence at Facebook Chicago. I was already familiar with the program because I'd noticed a few OPP artists posting on Instagram about it. Then I started to see OPP Featured Artists all over the Facebook AIR Instagram. Today, I'd like to highlight some of those artists and the mission of Facebook AIR. I reached out to Jessica Shaefer, Head of Public Programming & Partnerships at Facebook, to ask about the program. 

OtherPeoplesPixels: What is the curatorial mission of the Facebook Air program? Is it different from location to location?

Jessica Shaefer: Facebook's Artist in Residence program (FB AIR) encourages creativity, innovation, openness, and connectivity by inviting artists to create site-specific art installations and projects around the world at Facebook offices in their neighboring communities and, increasingly, in the public realm. The FB AIR program's primary goals are to foster connections between cultural producers and diverse audiences in experiential, educational and transformative ways. FB AIR is committed to working with artists at all career stages, including both those who have received global recognition for their work and with those who identify as members of under-represented communities. The FB AIR team consists of makers, curators, and producers who strongly believe in the value and power of art in society. We are committed to providing the space and resources to diverse artists to create original projects that push the boundaries of their respective practices and allow for exploration of new materials and ideas.

Yvette Kaiser-Smith 
Pascal's Bridges, 2018. Crocheted fiberglass with polyester resin, nylon spacers. 96" x 747" x 2"
Facebook Chicago


OPP: Are the invited artists always local? 

JS: The core of our mission is to support artists who are based in neighboring communities of Facebook offices around the world. We have curators based on four continents who focus on sourcing and commissioning artists in each region where Facebook opens an office. An exception is a Frank Gehry-designed building at headquarters in Menlo Park, California, which features projects by an international roster of artists. 

Andrea Myers 
Rainbowedbend, 2018. Site specific machine sewn textile collage. 
Facebook Chicago

Adam Friedman
2018. Facebook Seattle

OPP: How do you go about finding artists? 

JS: The FB AIR curatorial team regularly goes to art exhibitions, conducts studio visits, does online research, and considers recommendations from the Facebook community and past FB AIRs, among other methods. Instagram is a great digital tool for discovering new artists!

Tracey Snelling
A City Connected, 2018.
Facebook Menlo Park

OPP: I agree. And there are so many strategies for finding them. Do you have any strategies for discovering artists on Instagram? 

JS: Besides our FB AIR program official account, our global team of curators each have individual Instagram accounts where we often search for and follow artists that interest us, particularly in our respective regions. Sometimes we find new artists through the accounts of artists that we’ve worked with in the past; sometimes we learn about artists through nonprofit organizations, galleries, and other cultural institutions that we follow; sometimes we learn about artists and projects through the various publications we follow; and of course we are all part of a large global network of cultural producers who often post information and images that can lead us to all kinds of new discoveries.

Libby Barbee
Shapeshifters, 2018. 22'w x 12'h.
Facebook Denver

Stacia Yeapanis (me!)
This isn’t a problem to be solved; it’s an experience to be had. 2018. Dog waste bags, Sharpie ultra-fine pens on photocopies, hand-spun wool, cardstock. 40 feet long.
Facebook Chicago

Read the interviews with these Featured Artists:

Steven Vasquez Lopez
Yvette Kaiser-Smith (interview coming soon)
Andrea Myers
Adam Friedman
Tracey Snelling
Libby Barbee

OtherPeoplesPixels Interviews Alexis Beucler

Woman in Stripes at the Beach, 2019. Oil, dye, canvas. 67 x 81"

ALEXIS BEUCLER (@liquidlandscape) investigates the landscape-figure relationship in paintings, soft sculpture and printmaking. The humans that populate her colorful, patterned landscapes float on inner tubes, frolic, fuck and lay about, seemingly carefree. But underneath the water, alligators lurk and decapitated heads decay. Alexis earned her BFA in Painting and Printmaking with a Minor in Art History at Florida State University. She has had two solo shows at Gallery E260 at the University of Iowa (Iowa City): Beyond the Mangroves (2019) and Razzle Dazzle Landscapes (2018). In 2019, she is an Artist-in-Residence for public art at the Grant Wood Art Colony in Iowa City. Alexis is currently pursuing her MFA in Painting and Drawing at University of Iowa, expected to graduate in 2020.

OtherPeoplesPixels: You’ve said in your artist statement that you “investigate a landscape-figure relationship.” How does the history of landscape painting inform your work?

Alexis Beucler: I’m drawn to the presence and absence of human figures within the history of landscape paintings. I am enamored by David Hockney’s patterned forestsEdvard Munch’s beachesJohn Dilg’s quiet trees, Mark Messermith’s bright, urgent, anxious landscapes. These spaces make me wonder, when can a campfire speak as loudly as a group gathering? When can a mark of paint emphasize collective feelings? How can animals and plants be placeholders for figures?

Swampland Bacchanal, 2018. Oil on canvas

OPP: What other visuals influence your work?

AB: Over the past year I’ve been reflecting on my time in the Floridian landscape—a landscape I’ve taken for granted for the past two decades—the native plants, swamps, waterways, festivals, island gatherings, quiet explorations.

Seeking to expand the lands in my painted world and in search of specificity of a space, I’ve started traveling to landscapes such as the New Mexico with sprinkled green plants dotting the desert land, blooming midwestern prairies, and I’m hoping to travel to Hawaii soon.

Afternoon Swim, 2018. Gouache on Paper. 20" x 28"

OPP: Do you think of the figures in your landscapes as in sync with their environments or oblivious to them?

AB: The landscape and environments subconsciously affect their motivations and actions. Likewise, the landscape absorbs the energy from actions the figures present, so the figure-landscape relationship is more symbiotic than anything.

In nighttime environments, there’s an increasing sense of urgency: people gather around fires, parties go too far. During the day, I think about the aftermath or residue of what occurred in the darkness, and wonder, do the figures exploring the day world know what happened the previous night? Are they floating down the river on an inner tube of bliss? How long have the mysterious heads at the bottom of the swamp been there, and does anyone other than the landscape remember them? As I explore this painted world, questions such as these are my guide.

Submerged Secrets, 2018. Gouache on Paper. 20" x 28"

OPP: Many paintings—Submerged Secrets (2018), Swamplandia: Journey With the Birdman (2018), and  Pink Alligator Roaming the Lands (2019), to name a few—reveal what is hidden beneath the surface of the water. Talk about your intent with this recurring compositional strategy.

AB: I’m interested in the above and below, how landscape shifts and becomes more fluid beneath the water’s surface, and how the underwater landscape is relatively untouched.

I grew up in Florida, where I visited the Weeki Wachee underwater theater quite often. We’d watch “mermaids” perform underwater dance routines and dramas. I remember when the water level was low, you could see hints of landscape above the water and the depths of the spring below, separated by the wavy line. I knew the mermaids were figures slipped into costumes, but I let my mind explore the fantastic possibility of seeing them and believing in them. Above the surface they are like me; below, they can be anything! That was my first real taste of magical realism. 

Beyond the Mangroves, 2019. Installation view. 

OPP: In your most recent exhibition, Beyond the Mangroves, you’ve now introduced references to home decor through the inclusion of a painted “blanket,” stuffed frames and a string of painted pennants. How do these additions change the context of the paintings?

AB: I’m increasingly intrigued by magical realism in fiction. For example, in Murakami’s IQ84, everything is seemingly mundane until a character looks up and realizes two moons occupy the sky. It’s so real, they wonder if the moons have always been there, if others notice them, or if they have transcended into a new space? This moment—one that identifies a subtle shift within our reality—is reflected within the physical objects from Beyond the Mangroves.

The red and white striped blanket and colorful pennants are recurring images within my paintings. Bringing them into the viewer’s physical space takes the viewer one step closer to the painted world. The blanket becomes an area the viewer needs to walk around, see through, and is invited to sit on and gaze at the paintings. 

Frames take on soft undulating forms that are repeated within the paintings— they reference fingers, arms, leaves, clouds, bottles. Soft and moldable. Gradients of color. They hug the picture and seep into our space.

Luncheon, 2018. Gouache on Paper. 20" x 28"

OPP: You are halfway through your graduate studies in Painting & Drawing at the University of Iowa. I know grad school is a whirlwind, so I wanted to give you an opportunity to reflect. How’s it going so far? How has your work changed in the first year of pursuing your MFA?

AB: It has been quite the whirlwind. Since I’ve been at UIowa I’ve started focusing more on landscape, patterns, personal mythology and magical realism. There’s an increasing nuance in color play and physical connection between figures and landscape.

Rocky Shore, 2018. Lithography Bleed Print. 15" x 22"

OPP: Before grad school, you made soft sculpture and also worked in printmaking. The lithographs on your website are just as detailed as your paintings, but eschew color in favor of pattern. But it seems that painting is your primary focus. How do you choose which medium to work in on a given day? 

AB: With painting, I’m able to delve deep into the world. Figures emerge, I trek into new lands, and through color everything flows together. With lithography, I generally already have an idea of what the image will be and use drawing as a tool to find ways of maximizing space with dense patterns. Recently I’ve been using this process to approach painting with fresh eyes and apply the detailed patterns from my print world into the painted one.

I can’t make soft sculptures until I have a clear grasp on where the paintings are taking me. I’ve spent the past two years reevaluating the landscape and figures through painting and have recently felt like I can once again pull some recurring elements out into our physical space through soft sculpture.

To see more of Alexis' work, please visit alexisbeucler.com.

Featured Artist Interviews are conducted by Chicago-based artist  Stacia Yeapanis.  When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations.  She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006. Stacia was a 2011-2012 Artist-in-Residence at  BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (Michigan, 2013), Heaven Gallery (Chicago 2014), Indianapolis Art Center (Indianapolis, 2017), Robert F. DeCaprio Art Gallery (Palos Hills, Illinois 2018) and Kent State Stark (North Canton, 2019). Her work is included in the three-person show Manifestations, which opens on June 14, 2019 at One After 909 (Chicago).


Going Strong for 7 Years: Libby Barbee

Did you know the OPP blog has been featuring exceptional, living artists since 2011? We are committed to looking at the full trajectory of each Featured Artist's work, as represented on their websites. As an artist myself, I don't think of individual artworks or projects in a vacuum. I'm more interested in how one work leads to another and what drives artists to keep making. So it's exciting to revisit artists interviewed in the first few years of the blog and find out what's changed and what's stayed the same in their practices. Today's artist is Libby Barbee (@libby.barbee).

The Commutation of Distances, 2018. Print on panel. 24" w x 66"-72" h

OtherPeoplesPixels: What's new in your studio, practice or work since you were interviewed back in 2012?

Libby Barbee: Wow! So much is new—and yet, nothing at all. I am still creating work that is broadly centered around the relationship between nature and culture, and often specifically focused on American frontier myth. However, though the themes I’m investigating have stayed the same, my approach to making artwork has changed a lot. Back in 2012, I was doing studio work full-time and most of what I was making was very time intensive. A large part of my practice was focused on intricate collages that took me months in the studio to complete.

The World Finally Gives Way, 2016. Cut paper and collage. 36"h x 48"w

Since then, I have had two babies and a very full second career. Making art is non-negotiable, so my practice has had to adapt and become more flexible. These days, I work a lot faster and in a much more focused manner. I do a lot of work from my computer, which frees me to work a little more nomadically. I have been working with digital prints that I can compose wherever I am, whether that is at the kitchen table while my children are napping or between classes at the University where I am teaching.

Astral America, 2016. Installation (digital prints mounted on plywood, sand, cacti, backpacking gear)

I have been surprised to find that though I have a lot less time to spend in the studio, I have been much more productive and have had a ton of cool opportunities come my way. The last year especially was a whirlwind of art-making. I collaborated with fellow Denver artist Bill Nelson to complete a participatory art piece titled The Sound Mirror Project. The project was really different than anything that I had done before and has left me wanting to do more participatory work.

MLRA 69: Upper Arkansas Valley Rolling Plains, 2018. Cut paper and ink.120"h x 36" w

Over the spring and summer, I worked on a piece commissioned by the Gates Family Foundation that used cut paper and prints to visualize data about the effects of agriculture and grazing on soil ecology. In the process, I was able to spend time working with a USDA Natural Resource Conservation Service Rangeland Specialist, from whom I learned so much about sustainable grazing and agriculture. I am convinced that the sciences urgently need artists to make environmental knowledge understandable and compelling, and to help propel movement towards sustainability. I hope to have more opportunities to work with scientists and ecologists in the near future.

Shapeshifters, 2018. Installation. 22'w x 12'h

I also had the opportunity in the fall to do a large installation at Facebook’s corporate offices in downtown Denver as part of the FB AIR (Facebook Artist in Residence) Program. The piece was installed the same week that my son was born, so things got a little nutty, but it was a really cool project and resulted in work that I am very proud of.

Taming This Most Unruly Nature, 2018. Print on panel. 2' x 2', 3' x 3', and 4' x 4' panels.

In addition to my studio practice, I have the amazing fortune to be able to work with artists in other aspects of my work life. In one corner of my life, I manage grant programs for artists at RedLine Contemporary Art Center in Denver. The Arts in Society program that I run provides $500,000 per year to support cross-sector work in the arts in CO. I have been endlessly inspired by artists who are using their art to make impacts in areas such as health, science and community welfare. In another corner of my life, I teach studio classes at local universities. I love working with young artists, and students are constantly giving me new ideas and fueling my curiosity. 

OtherPeoplesPixels Interviews Kate Sweeney

Trans Loose Cyphers: Welcome to My Worlds, 2018. Detail of installation for Facebook Seattle. Photo credit: Candace Fields

KATE SWEENEY's installations, paintings and prints are static works inspired by the motion of the physical universe. Her colorful, layered works visualize wave forms at microscopic, human and cosmic scales. Fittingly, she avoids the restrictive edge of the rectangle whenever possible in favor of irregular, organic edges that meet the surrounding space with openness. Kate earned a BFA in Fine Arts & Medical Sciences and a MFA in Medical and Biological Illustration, both from the University of Michigan. She has completed numerous public art commissions, including installations at Facebook Seattle (2018), Redmond Technology Center Transit Station (2017), Overlake Hospital Cancer Care Center (2017) and Harborview Medical Center (2015).Recently, her work was included in Digital Maneuvers (2018) at the Seattle Art Museum and Playlist! (2019) at Museo Gallery in Langley, Washington. Kate lives and works in Seattle, Washington.

OtherPeoplesPixels: Tell us how your background in medical illustration informs the work you make now.

Kate Seeney: My artwork has always been fueled by my love of the natural world, and by extension, science. Both my interest in medical scientific illustration work and my painting practice spring from that love.

For the past several years I have been designing illustrations for complex environmental disaster remediation projects as a part of my scientific illustration career, and I’ve grown increasingly sad about what we have done to the planet. In my fine art practice my focus has now shifted to the macro natural world, as I have been thinking about the possible death of Nature. 

Meadow, 2019. cut paper. 42" by 76"

OPP: Tell us about The Meadow.

KS: The Meadow is an elegy. It reimagines the delicate beauty of the deep structure of Nature. The large collages in this project reflect my awe of Nature and my fond but fading hopes that She will recover after humans have either disappeared or revolutionized our relationship to energy consumption. 

I’ve designed the shapes used in The Meadow to fit together in a rough approximation of Penrose tiles, which are mathematically derived patterns using a limited vocabulary of interlocking shapes to cover a plane in a self-similar but non-repeating way. I created a set of loose-edged tiling shapes and then rearranged them into unique forms. This process happens in the real world, where a starting fractal equation/engine unwinds amid specific and singular conditions on the ground, which influences the expression of the underlying structural order. I consider this an excellent analogy to the natural world and the forms of life, both familiar and yet unique. 

Drops, 2019. cut paper. 24" x 30"

OPP: You’ve said “I don’t think in rectangles, but shapes.” Can you talk about the excitement of the edge?

KS: I just have never been content jamming my ideas inside a rectangle. I think form and flow are more naturally explored using a free edge. More sculptural I guess. But coming at my work from a 2D approach has challenged me to find a way to create outside that box, and while still addressing the practical aspects of presentation and display. 

I also think a lot about the scale of my work, and that too is a sculptural consideration in a way. How a piece relates to the size of the human body is very important. Ideally, I want my work to be a thing itself, not a depiction of something.

Clear Sailing, 2015. mixed on panel. 5' x 3'

OPP: Many of your works look abstract, but are inspired by “scientific theories of energy, waves, strings, and quanta,” etc. Do you think of your work in terms of abstraction or representation?

KS: I think my work is highly representational! I realize the viewer will see the patterns and colors as abstract, but I hope the structure speaks to a deep, unconscious, human appreciation of order, and reflects the mathematically derived forms that I believe underlie the creation of everything we can see. It’s all ratios and waves out there people!!!

I have, in the past, used the foundational concepts of quantum physics and theoretical physics as a jumping-off point for my seemingly abstract images. Spooky Action at Distance, particle wave duality, The Big Bang, multiverses and gravity waves are theories I have used to create color pattern fields that express my thoughts about what the world looks like at the smallest and largest scales.

Most recently, I’ve been using wave forms in a series of panels to explore water motion as a reflection of the fundamental oscillating forms of reality, a longstanding theme for me.

Gravity Waves: the unseen dark matter mass of systems can pull them apart and impact the entire universe. 2016. Acrylic on paper collage, with digital print, monoprint, braille print and transfer print. 44" x 80"

OPP: You’ve done numerous installations for offices and medical centers. First off, the practical. . . how do you go about getting commissions?

KS: My website and social media have been powerful avenues to commissions. I also pay attention to the calls for art proposals put out by various funding agencies, most notably in Seattle where we have numerous ‘1% for art’ programs.

Current/ Potential, 2012. Installation for Seattle City Light's North Service Center. 35' x 8.' Photo credit: Spike Mafford

OPP: Tell us about making art for a specific site? Do you think more about audience or space?

KS: When commissioned to do an installation in a space, one thinks about both the audience and the space itself. I typically start with thinking about the audience and the compelling core narrative I want to offer them. Then I look at the location and see how I can use it to deliver on my idea. The space becomes a powerful shaper of the narrative at that point.  

For my Harborview Medical Center commission, I thought about the journey that the patient and the families would be making though their hospital stay, a very challenging time in their lives. I imagined the hallway  where my piece would reside as a journey for them, a place of refuge, and also a transitional zone between treatment and recovery. I created an abstract forest transforming through the seasons, a narrative path that could bring serenity, like a walk through the woods. 

Willows over Water, 2017. Installation for reception area room, Cancer Care Center, Overlake Hospital. Paint and paper collage on wood elements. 3' x 9'

OPP: It looks like you are in the middle of creating a new installation from aluminum pipe for the Redmond Technology Center Transit Station in Washington. Tell us about your design and how the process is going.

KS: Yes, I am in the midst of a project for the transit center concourse ceiling out in Redmond, the technology capitol of the world--- well almost…

My premise for the piece is ‘Journey’, which speaks to the immigrant experience of many of the commuters who will be transiting through this station, and also to the self-similar but non-identical nature of commutes. ‘Same train, different day’ equals a brand new experience. To reflect this, I am using a simple form of a fractal, the Apollonian Gasket generator, which is one that utilizes perfect circles to create a nesting pattern that is unique each time, based on the starting input numbers and the constraints of the system that powers it. 

I worked up the design on the computer using 2D and 3D software, with the help of my 3D designer Ben Henry, who also was able to bring the design into a full scale architectural model of the station. This allowed me to see it in a VR walk-through, which is just so powerful for making design decisions and getting a great feel for what a massive structure looks like, full scale.

Right now we have entered the fabrication stage, which is being executed by the talented people at Fabrication Specialties here in Seattle. The structure will be made of painted aluminum rings and discs, and suspended over the busway for about 300 linear feet, the length of the transit area. I am excited to see this huge project come to life, and I look forward to having it installed by the end of this year. 

To see more of Kate's work, please visit katesweeneyfineart.com.

Featured Artist Interviews are conducted by Chicago-based artist  Stacia Yeapanis.  When she’s not writing for OPP, Stacia explores the relationship between repetition, desire and impermanence in cross-stitch embroideries, remix video, collage and impermanent installations.  She is an Adjunct Assistant Professor in the Department of Fiber and Material Studies at The School of the Art Institute of Chicago, where received her MFA in 2006 Stacia was a 2011-2012 Artist-in-Residence at  BOLT in Chicago.  Her solo exhibitions include shows at Siena Heights University (Michigan 2013), Heaven Gallery (Chicago 2014), the Annex Gallery at Lillstreet Art Center (Chicago 2014), The Stolbun Collection (Chicago 2017) and Indianapolis Art Center (Indianapolis 2017) and Robert F. DeCaprio Art Gallery (Palos Hills, Illinois 2018). During summer 2018, Stacia created  Renunciation Reliquary as a one-night installation for Chicago Artist Coalition's annual benefit Work in Progress and was an Artist-in-Residence at Facebook. Her solo show Practice is on view at Kent State Stark through May 4, 2019.