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.


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.


OtherPeoplesPixels Interviews Anne Yafi

Plush Grid, 2018. Pipe cleaners, mixed media. 144" x 96" x 20"

Bright color and texture are the purveyors of mindful pleasure in ANNE YAFI's conceptually-driven painting practice. She uses mass-produced materials that reference consumerism and hobby craft to subvert the values of Minimalism. Her pipe cleaner grids, whether hovering in space or popping off the wall, are malleable, resilient, and defiantAnne earned her BFA at Northern Illinois University (Dekalb, IL) and her MFA at The School of the Art Institute Chicago. Her solo shows include Anne Yafi, Fresh Work (2016) at Free Range (Chicago) and Does It Feel Delicious (2017) at Kruger Gallery (Chicago). In 2018, she collaborated with Christalena Hughmanick to create a site-specific installation called There's Nothing Natural About This at Wedge Projects (Chicago). Her most recent solo show is currently on view at 65GRAND (Chicago). Dip In My Daydream runs through February 23, 2019. Anne lives and works in Chicago. 

OtherPeoplesPixels: American culture sends mixed messages about the value of play. We are constantly being sold entertainment and pleasure, but there’s also a underlying, dominant idea that it isn’t productive or useful. How do you think about play and playfulness? 

Anne Yafi: Pleasure gets a bad rap, and rightly so when it doesn’t empower one’s life experience. It’s really a matter of perception and attitude, I’m solidly pro-pleasure! I think the critique regarding play in our culture when associated with pleasure is largely addressing passive and escapist consumer behavior versus one of active participation that I engage for my purposes as an artist. I’m well aware of the judgement and my continued interest feels defiant which makes it even more compelling to me. I think my embrace of play really took hold after creating my first pipe cleaner grid and closely observing visitors enter my studio.

Sex Karma (detail), 2014. Pipe cleaners, plastic beads.

OPP: How did they respond?

AY: Some of the most stoic, hard-core academics would break into a smile; others stood mesmerized, their eyes traveling about the grid. Several looked for ways to climb into the grid, while a few have absentmindedly reached for the pipe cleaners, stroking them like a pet while talking to me. Seriously fascinating. What does this mean in the context of art? I think the more interesting question is, how does an artwork shape the experience of viewing? 

Snuggle Wall (Make Love Not Walls), 2017. (detail)

OPP: What led you to work with mass-produced materials, including pipe cleaners, Perler beads and Ikea straws?

AY: My response to a newly found material or object is always highly visceral as I immediately fall in love with its materiality and the possibilities for abstracting it away from its intended function. I began grad school as a painter and had to reinvent my work because of a 60-mile commute into Chicago. I live in a rural community where every big box home improvement and craft store is within three miles of my home studio. IKEA is a store I frequent because I grew up with it as a child visiting Sweden decades before it entered the US.

2013-2017, Limited Edition, 2017. Ikea drinking straws. 50" x 40"

OPP: And you work with these materials as “painting?”

AY: These materials are a conceptual approach to drawing and painting. The IKEA straw works reference hard edge abstraction as well as contemporary issues on consumerism. They question value judgements around pleasure and on non-art versus art. The pipe cleaners are a linear medium that I alter through a painting process or punctuate with alternating color and texture with the beads.

Good Intentions, 2018. Pipe cleaners, mixed media, ceramics. 33" x 60"

OPP: How are the dimensional grids different from the wall works?

AY: After making a few two-dimensional “drawings” with the pipe cleaners in 2014, the three-dimensional grid was a natural progression in keeping with my subversion of Minimalism. The fantastic thing with pipe cleaners is they have a strong wire interior buried inside all that soft, disarming fuzz, and I employ these contradictions in the work. The grids begin as an invitation to an exhibition space. On my first visit, I’ll read the light, interior architecture and converse with the director about their mission for exhibitions and community. For this reason, I define the grid installations as site-relational rather than site-specific.

During the installation of Dip In My Daydream at 65Grand, Chicago

OPP: Tell us about Dip In My Daydream, which opened last week at 65Grand in Chicago.

AY: For this work, I wanted to reference process as it applies to pre-install preparations and to my imaginative experience while making. I began by creating the color palette in a multistage process of spraying and dipping over 9000 white pipe cleaners—approximately 300 at a time—with my paint mixture. Once install began I continued to dye pipe cleaners in new color combinations as the “palette" needed adjusting. I worked unassisted to build a 11’ x 9’ x 17’ hanging grid in eight days. There was no plan other than the grid’s systematic structure which functions as an allegory for how painters negotiate the pictorial frame or canvas. It’s an intuitive process that involves the selection and consideration of color and value relationships as I “paint” in the third dimension. The title also implies an invitation for the viewer to enter into this fantasy space that I’ve created. However, like its grid predecessors, the installation is built with only the illusion of entry as I’m drawing comparisons to the immersive experience one has when viewing two-dimensional paintings. 

Untitled, from the series Does It Feel Delicious, 2017.16" x 16"

OPP: The series Does It Feel Delicious? evokes decorated donuts and bagels with beautiful schmears. This work and its title seem to be a direct response to the term “eye candy,” which is often used in the art world in a dismissive way. Why are so many people so skeptical of visual pleasure?

AY: For the title, I chose a tactile descriptor in place of the visual for a twist on how paintings (again) are perceptually viewed and experienced. The heavily gessoed panels were created as topographical “meringues” to challenge my artist’s hand in painting a straight line repeatedly, the process thereby creating the resulting image. I found a pathos and humor in navigating that self-created obstruction. 

To answer your question, I think those who are skeptical of visual pleasure find it to be the antitheses of the intellect. This is a story old as time—body versus mind—and projections abound. I’m more interested in having them coexist within a contemporary female narrative because desire is not going anywhere. 

Overflowing Yummy, 2018. 24" x 24" x 6"

OPP: Well said! Can you talk about the recent addition of ceramics to your toolkit? I’ve seen images of works in progress on Instagram

AY: I was drawn towards ceramics because I could create exactly what I imagined. I entered this medium and its history with little experience which suits my preference for a direct and if you will, faux-naïve engagement with form. Plus, the glorious glaze colors, a candy store of options! The stripes on the “beaded” ceramic elements are painted by brush, a progression from painting on the gessoed reliefs to a fully three-dimensional object. Additionally, I’m currently in the process of making a variety of wall anchoring devices for the pipe cleaner works. There’s an inherent fragility in ceramics. That possibility of cracking or breaking regardless of its earthy density is compelling to me and in stark contrast to the pipe cleaner’s weightless strength. I’m always searching for materials where opportunities for humor and contradictions coexist.  

To see more of Anne's work, please visit anneyafi.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. She is currently preparing for a solo show titled Practice, which will open in April 2019 at Kent State Stark.


Going Strong for 7 Years: Andrew Scott Ross

Did you know the OPP blog just turned seven-years-old at the end of August 2018? In honor of our birthday and the artists we feature, we'll be sharing some blasts from the past throughout the year. In this post and throughout 2019, we'll share new work from Featured Artists interviewed in the first year of the blog. Today's artist is Andrew Scott Ross.

Ruins My Image (detail), 2018. Paper copies.

OPP: What's new in your practice, Andrew Scott Ross?

Andrew Scott Ross: I have dedicated the past seven years to the making of an encyclopedic museum—or more specifically a museum Omnia Temporaria—where all things, even the museum itself, is temporary. It’s an institution without a fixed location, and exists only as a collection of works; there are drawings, sculptures, videos, and installations. Many of these pieces mimic a diorama or traditional display of artifacts but are never considered complete. They transform each time they are presented and change in both form and intention.

Century Zoo IX, 2017. Weatherspoon Museum. Mud, paper, charcoal, paint, wood.

A good example is Century Zoo. This installation, produced when OPP first interviewed me in 2011, began with observational sketches within Metropolitan Museum of Art’s Greek and Roman Wing. I returned to the studio with all of these drawings, cut out parts, layered them, and covered them with ink, charcoal, and mud. Over the past seven years, I have exhibited this work eleven times, but have not once returned to the MET’s collection or observed their reproductions, denying myself the opportunity to reorient these representations to reflect the original forms.  

Century Zoo VII (installed at Gallery Protocol), 2016. Mud, Paper, Charcoal, Paint, Wood. Dimensions Variable.

Finally, the drawings of Attica pottery, Kouroi figurines, and marble busts are hardly recognizable, worn down by my studio process. The remaining forms and the way they are displayed in my installations only represent my fantasy of the originals. They are a collection of images corrupted by my imagination and the historical scholarship around this work that first influenced me. This evolving installation now represents my antiquities wing.

Dry Erase, 2017. Atlanta Contemporary Art Center. Styrofoam, Dry Erase Paint, Dry Erase Markers.

In 2014, I started playing with sterile materials found at Office Depot, like rubber bands, sticky notes, and bulletin boards. I wanted to combine these familiar products with distant prehistoric motifs that are beyond the grasp of our traditional systems of visual analysis. These experiments eventually morphed into Dry Erase: a sculptural work made of artificial boulders encased in whiteboard paint. These objects are arranged in formations that resemble Paleolithic rock art sites and are continually affected by the drawings made on their surfaces. I make all additional drawings and erasures on-site in the gallery, so the act of making and unmaking the work relates directly to the exhibition environment.

Ruins My Image (Installation View at the Hunter Museum of American Art), 2018.

I started Ruins My Image last year, and its first variation is currently on display at the Hunter Museum of American Art. This is an expanding group of drawings that originated from a single reproduction of prehistoric San rock art from the Matopo Hills of Zimbabwe. It all started from a small, beautiful, 3000-year-old yellow, ochre painting depicting an injured human. In my studio, it became the sole source of inspiration for the past last year. The results translated into an installation, which functions as a map of citations, a visual bibliography that charts where and why I have distorted the original prehistoric representation.

Songs (Abstract Cricket Boxes), 2014.

Like the Art Institute of Chicago, my fictive museum has a Modern Wing. The newest related work is sculptural and each piece doubles as a habitat for living animals. I created two Plexiglas geometric sculptures that act as aquariums for cold-water fish in 2012, and later, I made a series of sculptures that house crickets—you can hear them chirp as soon as you approach the objects.

Read our first interview with Andrew.

OtherPeoplesPixels Interviews Jeff Krueger

Failure is an Option, 2017. Installation view.

In a nod to the legacy of Modernism, JEFF KRUEGER (@kruegerstudio) uses recurring, abstract forms. But his ceramic works and drawings do not maintain the primacy of the non-contingent art object. Whether in sculptures glazed with his own blood or objects that evoke both physics and philosophy—his works refer to real objects and issues in our very messy lives. Jeff earned his BFA, in Ceramics at the California College of Arts and Crafts, followed by his MFA in Sculpture at the University of New Mexico. His residency at Roswell Artist-in-Residence in New Mexico culminated in the solo exhibition Failure is an Option: My life with Abstractions at the Roswell Museum and Art Center. Jeff's work is represented by Gallery Fritz (Santa Fe, NM), where he will have a two-person show in April 2019. In the meantime, his work is included in the group show The Audacity of Art, opening on October 26, 2018 at Gallery Fritz. Jeff lives in Albuquerque, New Mexico. 

OtherPeoplesPixels: You identify yourself as an “abstract social realist.” What does that mean to you?

Jeff Krueger: This is a catch all terms I use. In many instances, the work is a form of cultural study, which re-renders forms in the world, be it items designed for the body, the home, small public arenas or corporate identification. They are things as diverse as cervical caps, water pitchers, oddly curious parking lot dividers. There can be a flat footedness to the enterprise, like reading the My McDonalds ad campaign and deciding to make my own arch. The Social Realism aspect of this is the turning of the arch upside down with bottles of bleach holding up the sign, which is a reference to the city of Chicago pouring bleach into street food vendors food as a means of discouraging the practice.

Ghosts, 2017.

OPP: Talk about the abstract visual language you work with.

JK: I generate a constant stream of abstract forms, be it works which evolved out of Dadaist, Surrealist, non-objective art and other 20th Century traditions. This language is our artistic inheritance. My work involves infusing these forms with direct contact with the real, whether that is coating the objects with red blood cells, using them to present things like my DNA, store used condoms, or simply juxtaposing the forms with materials that have generally understood cultural meaning. In the newer works, it can be as simple as glazing them in such a way that the color gives the work meanings. I hope the works achieve some quality that there is an active social realist consciousness to the object. Group identity or cultural identity is for me a form of abstraction, and I am looking to render these abstractions as a vehicle for understanding the world. 

My Brother Michael Drinks from the Evangelical Water Bottle, 2017. Ink on Paper. 19"x 13"

OPP: Can you give us a specific example of that?

JK: I made a drawing of a my brother being waterboarded by what I called the Evangelical Water Bottle. It was a thought about how he had become such a devout Evangelical Christian and how our country has used waterboarding as a method of torture. I decided to make the water bottle into an object. I wanted to use the work to reconsider imagery which might reflect upon the central Christian rite of Baptism, one of these major cultural abstractions. Once you are washed, you are forever washed. Water is present, even though it is gone. The photograph with the bottle in front of a handicap parking space was a way of taking the object back to my brother, as he was one of the people that spoke before Congress in advance of the Americans with Disabilities Act. This parking spot at Bitter Lake was a direct result of Michael’s work. 

It is a poetic loop I suppose, but one I hope considers a wide scope of related subjects.  

Untitled Body with Red Interior, 2017. Ceramic with Poplar and Brass. 16" x 44" x 14"

OPP: Have you always worked with ceramics? Tell us a little about your artistic trajectory.

JK: I started working with clay in high school. I studied at 3-4 different schools as an undergraduate, and at each step I was given the direction to aim high. Viola Frey, at the California College of Arts and Crafts, was among those voices. She was pretty amazing and directly introduced the idea that art could be a form of cultural study. I have been a restless artist since then, exploring a number of media and forms, but often return to ceramic work due to its unique properties and my interest in design. I was schooled in the 80s, which can be seen as both the peek and collapse of Modernism. Minimalism and all that gospel still has meaning to me, as I think a ‘thing’ unto itself can be far more commanding than something which is primarily referencing something outside itself. Ceramics does the former very well. 

Infinity is King, 2017.

OPP: You use a lot of repeated ceramic forms that are recontextualized by color and titles. An example is Infinity is King, in which the form is a figure wearing a crown, and Infinity Tastes Like Candy, where the same form evokes cotton candy. Talk about this recontextualization.

JK: It is an outcome of thinking about the same thing in different ways. I would not say I work in series, but I do think about the same topic from different perspectives, variations on a given form allow for distinctly different ways to frame the ideas in the work. 

One of the concepts that has played out in the work through the years is that of fecundity. What is human fecundity? It is sort of a pompous question, but not really. . . and I think it is an important one to ask these days. Somehow I think our faith and inquiries about the infinite are linked to our fecundity. These works came out of an interest in defining the infinite within a single object. What would that look like? I don’t know if this form is satisfying enough, but I like it. Infinity is King juxtaposes that form with a crown dotted with flesh tone blobs. I guess that is a thought about the human obsession with race which seems a rather petty obsession in the context of the genuinely infinite. Infinity Tastes like Candy is an ode to my childhood. When I was kid I was told everything that I would not eat tasted like candy. It was somewhat funny because, with exception of chocolate, I don’t recall ever liking candy.

She Will Gives Waves of Warning, 2004. Ceramic and Epoxy. 6 1/2" x 32" x 12 1/2"

OPP: And what about the repeated form used in Untitled in GrapeShe Will Give Waves of Warning (2004) and The Settlement (2000)?Does it have a real world reference?

JK: These sculptures are part of the long line of abstract forms I mentioned. I make a lot of work in both drawing and sculptural form, which does not start from knowing what or why I am making it. Generally there is no thesis I am trying to defend. Rather, I make work intuitively and then try to see what is generated in terms of emotion or language. Then I see if I can say something or ask a question via that generated language. 

After I made these, I saw the form as an abstract uterus. I wonder what this projection of a uterine form means. There is a quality to it of deriving language out of a human body part. I don’t have one of those parts but I came from one. Is that even valid to say any longer? I am not entirely sure why I feel invested, but they are beautiful. I’m aware of the pathologically patriarchal in our culture—I saw that in Peter Jackson’s Lord of the Rings which pitted all those male characters against a flaming vulva—and I wonder if I am not doing something similar. But I don’t know if it is patriarchal to wonder about where you came from or consider the world outside oneself. There is an aspect of it which is clearly an unconscious activity, as it is most of the time when I render parts of male body in works like Doubles or Fattening Frogs for Snakes.

Juggling Our Inequity, 2017. Ceramic and Water Color. 60" x 146" x 3"

OPP: Can you talk about the relationship between ceramics and drawing in your recent show, Failure is An Option (2017)?

JK: Back in the 1980s, I worked in a preverbal, rather awkward manner. One of the more influential drawing projects that I saw back then was a collaborative book of the poet Micheal McClure, with whom I studied, and his friend Bruce Connor. At the time I was essential making blobs in both ceramics and ink drawings. In the Connor pen drawings, I saw this road to radically slowing my mark making down. There was a union of the subject and the field, meaning and content. I’ve done similar work since. I make the drawings as a matter of daily practice. Sometimes it is the bulk of my production; other times it falls to the side. Often I see forms within the drawings that I feel would be interesting objects, and so I try to render them as such. The drawing It and  ceramic wall sculpture Its Black Facsimile would be one of those attempts. Each of these an attempt to render some notion of the fecund.  

The exhibition also includes watercolors, renderings of photographs and plein air paintings I’ve done over the last few years. I take a lot of photographs as a manner of looking at the world. Many seem like they would be interesting paintings. I also am confounded by Facebook and the news, so I use these sources for imagery which make it into the watercolors. A suite such as Juggling Our Inequity combines all of this work. In that group, there is a small painting of a river in Russia that was reported to be poisoned. It was bright red due to copper, chrome and other contaminates. Then I did a small watercolor of the field behind my house in Roswell, which edges fields devoted to alfalfa production. The pairing of this bucolic scene with one of an industrial disaster seems honest, as both happened simultaneously. I surrounded the pair with a field of ceramic dollops. The chemicals in these glazes are about the same as those in the poisoned river and probably some of those in the alkaline water used to irrigate Roswell. All of it seems tied together, mutually dependent, the inequity that between the earth and how we use it.    

Baptismal for the Death Star, 2017. Ceramic. 40" x 30" x 25." Photo credit: Margot Geist

OPP: What are you working on right now? Any new directions in the studio?

JK: At the end of my Roswell residency, I finished some pieces I call sequences. These are works which again relate to the ink drawings. They are ceramic forms thrown and then assembled and hand built.  I am doing these at the same time as making more watercolors. Some of these will possibly go into a long term project that I am working on which relates to living on the Death Star. 

To see more of Jeff's work, please visit jeffskrueger.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. She is currently preparing for a solo show titled Practice, which will open in April 2019 at Kent State Stark.

OtherPeoplesPixels Interviews Montana Torrey

Bagnasciuga, 2017. Folded collagraph. 28.5" x 6" x 10.5" total piece is 29 feet.

During the midnight sun months in Iceland, MONTANA TORREY painted the sunset daily on her window. She hung gauzy ghosts of American Private Property signs In a Finland forest, where Everyman's Law rules. In Venice, she looked to the horizontal line of algae growth along the sides of the canals as a document of the difference between wet and dry. In each case, landscape is a lens that magnify the dualities inherent in particular sites. Montana earned a BFA from The School of the Art Institute of Chicago and a MFA from The University of North Carolina at Chapel Hill. She has been an Artist-in-Residence at Skowhegan School of Painting and Sculpture, Headlands Center for the Arts, Vermont Studio Center, Catwalk Institute, and the Frank Lloyd Wright School of Architecture, among others. Recent Exhibitions include shows at Hotel Art Fair (Bangkok, Thailand), the Subhashok Arts Centre (Bangkok, Thailand) and SAC Gallery and Lab (Chiang Mai, Thailand). Montana currently lives in Chiang Mai, Thailand, where she is a Visiting Lecturer at Chiang Mai University.

OtherPeoplesPixels: According to your website, your work “employs the landscape as a metaphorical tool to investigate sites of opposition.” What kinds of oppositions? Can you give us some examples?

Montana Torrey: My work is a response to particular sites, either through direct physical engagement with the landscape or by using metaphorical elements of the landscape contained within architecture. The sites of oppositions are an arrangement that I create as a way of recontextualizing and understanding place. I do this by structuring a dialogue between the site, material, and an idea.

I approach the site by questioning its dualities: public/private; absence/presence; tangible/intangible; fear/comfort; freedom/containment; heaviness/ weightlessness, etc. My most recent work, Floodplain (126), re-imagines an ancient flooded ruin in Chiang Mai, Thailand through the dualities of absence/presence, past/presence, heaviness/weightlessness. This work embodied the temporal past and present of the ruin, suggested the flood waters through the piece’s movement, and transformed the seemingly inherent weight of brick by making them from paper and creating the illusion of weightlessness.

I have used oppositional structures to create and form a new experience of place and understanding of the site in its relation to the present.

Division of Labor, 2015. Hand-sewn silk organza. 30 feet.

OPP: Can you talk about the various barriers—both literal and metaphoric—in your work?

MT: The use of barriers, borders and fences started when I was in graduate school. Much of my work then was about public and private space and the psychological factors that determine what we deem as protective/protected space within the American psychic landscape. This was the beginning of my interest in literal divisions of the landscape and how we divide, manipulate and control space to further convey these ideas. At that time, I was looking at a lot of historical American landscape paintings—such as those of the Hudson River School—that were celebrating the vastness of the landscape as a form of propaganda to promote westward expansion and Manifest Destiny, which in turn resulted in the exploitation and further division of the landscape into private property.

Morning Light Barrier, 2016. Hand-painted silk organza. Variable dimensions.

OPP: What about the light barriers?

MT: I created the sewn “light barriers” for several exhibitions at the Catwalk Institute in Catskill, NY as a response to the work of Frederic Church. With these pieces, I was re-inserting elements of Church’s skies back into the landscape, inverting the horizon and imprisoning shafts of light. So, my first sewn light barriers were a reference to Church and others’ use of the horizon as a representation of the future, a collective future of the land beyond. However, when my pieces were inserted into the landscape they functioned as barriers, by creating physically blocks and restricting the suggestion of the infinite.

From there I began using the horizon more and more, working with the horizontal and vertical elements of dusk and dawn and experimenting with these pieces in relation to architecture.

We Buy Gold, 2011. Tarpaulin.

OPP: You’ve been to numerous residencies in European countries—Iceland, Finland and Italy, to name a few. It seems that many of your projects in these countries refer back to the American landscape by inserting what is missing. Is this a planned agenda or an intuitive response?

MT: Each site is tangible, present. One of the ways I approach my practice is by searching for an absence or ways of evoking absence through presence. I am interested in the formation of spatial perception and how spatial perception can be culturally defined. So, when I am working in a new country, I seek to insert my own spatial understanding of the landscape into that place. It is a form of place-making, rooted in memory, and cultural conditioning about the landscape. I try to collapse the distance of my own past and my immediate present in space.

On one hand, it is a calculated way of working, but within this, I allow for the experiential. I like to remain open to how my ideas will evolve and be informed by new places and cultures that help to shape the development of my work.

Permanent Sunset, 2012. Paint on window. Skagaströnd, Iceland.

OPP: What does your practice look like when you aren’t at residencies?

MT: Because I create installations about place, my work is always in flux and requires the continual investigation of materials and research, through both conceptual and academic development. Much of my work is informed by architecture and nature, so this is an endless and peripatetic investigation. Moving through space and observing the ways in which we understand the landscape through movement is very much a part of my research: when I live in the U.S., I am constantly driving and searching for architectural forms or sites to use within my work, but also making note of time and distance. I am seeking to create more of a phenomenological experience within my current installations, so finding ways of understanding a more embodied experience is critical.

Much of my practice takes place outside of the studio, in the field or in the library, and my studio is much more of a laboratory for the testing of materials, but the work all comes together in the installation.

Floodplain (126), 2018. 126 folded collagraphs. 3.5 x 3.5 meters.

OPP: What’s a collagraph? How does this process support your conceptual concerns in Bagnasciuga (2017) and Floodplain (126) (2018)?

MT: A collagraph is a basic printmaking technique in which the plate can be created with very inexpensive materials such as cardboard, glue, gesso. I started using this technique last year (2017) when I was a fellow at the Scuola Internazionale di Grafica in Venice, Italy. I found that collagraphs gave me the ability to create a wide variety of textures and to mimic the water line on the Istrian stone for my piece, Bagnasciuga. I began to make installations out of 3-dimensional collagraphs.

Both Bagnasciuga and Floodplain (126) explore the intersection between water, the built environment and the physical vulnerabilities of these structures through climate change. I intentionally used paper for these works because it helped to convey vulnerability via a shift in materiality from stone or brick to a fragile material. The paper also created another conceptual dichotomy; the illusion of weightlessness. Both of these installations move with the gentle swaying of water. Bagnasciuga moves back and forth like the rocking of the vaporetto or a dock as you move throughout the city, and Floodplain (126) moves like debris floating on the surface of water. Again, the experience of movement through space is critical to the function of both of these pieces, as I tried to evoke the feelings of floating, shifting, swaying, gliding, drowning and rising to the surface of water as the viewer moves around and through these works.

Portable Widow's Walk, Bird Island Lookout, 2008. Handcut canvas/ acrylic paint.

OPP: Where to next? 

MT: I am currently living and working in Chiang Mai, Thailand as a Visiting Lecturer in the Painting Department at Chiang Mai University. I’ve been in Thailand for the past eight months, having originally come here as an artist-in-residence with the Subhashok Arts Centre in Bangkok, but subsequently secured a position as a guest lecturer. For now, I plan to stay here for the foreseeable future, possibly with an intermittent break pursue a Ph.D. 

It is important to me to find alternative and affordable ways of creating an art-practice and to seek teaching experiences outside of the U.S., given the current political and financial climate for the arts. While I believe in art as an essential element of resistance, the responsibility of maintaining an arts practice in my home country, where funding for the arts is being slashed and the cost of living continues to rise, was becoming unsustainable for me. Furthermore, being in Southeast Asia has given me a deeper understanding of how dynamic and ever-changing the global art world is. My work will always reflect my experience growing up in the U.S., but I want to find more and more ways of connecting that experience to the rest of the world. 

To see more of Montana's work, please visit montanatorrey.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).  Most recently, 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. 

OtherPeoplesPixels Interviews Amanda Burnham

Neighborhood Watch (installation detail), 2016. Acrylic, flashe, paper, cardboard, and LEDs. 5 vignettes, each approx. 10 x 10 x 5.'

AMANDA BURNHAM's immersive, collage installations are dense with vernacular signage, brick walls and and trash cans. She pieces hundreds of gestural drawings of the surrounding city together, deliberately confusing three-dimensional space.  Instead of a realistic rendering of what a city looks like, she captures the frenetic energy of city architecture. Amanda earned her BA in Visual and Environmental Studies, at  Harvard University and her MFA in Painting and Printmaking at Yale University. Her long and varied exhibition record includes recent solo shows at University of Baltimore (2017), Elon University in North Carolina (2017), Arlington Art Center in Virginia (2016) and Dittmar Gallery at Northwestern University in Chicago (2014). Her work is included in the permanent collections of National Museum of Women in the Arts (Washington, DC) and the New York Public Library, as well as various private collections. Amanda just completed the Antenna Projects Artist Book Residency in New Orleans, and her solo show Amanda Burnham: In Situ will open at Gershman Gallery in Philadelphia on September 6. Amanda lives and works in Baltimore.

OtherPeoplesPixels: Your drawings and installations are all about cities. What’s your favorite city in the world?

Amanda Burnham: There are many cities that I love, but I'm going to go with Baltimore—not only because I live here, but because of its rich, diverse architectural vernacular, history, neighborhoods, and challenges. It inspired the direction of the installation work I have been making for the last decade.

Better Waverly, 2014. Paint and paper. 

OPP: Tell us about the first installation?

AB: The first installation I made was for a show at the Julio Gallery at Loyola University in Baltimore in 2008. I'd been asked by the curator to show a group of the plein air cityscape drawings I'd been consumed with making at that point. I'd made hundreds of these small observational drawings of different sites during my first full year in the city. It started as a way of getting to know my new surroundings. I'd begun to feel the limitations of working at a small scale, from a fixed perspective. I increasingly felt that it wasn't the best way to capture the energy and activity of the city as I came to know it while sitting for many hours drawing it. I asked the curator if she would be open to me creating an installation for the show to accompany my drawings, and, thankfully she was. Looking at back at the resulting work (which, at the time I was very proud of, and which was very freeing for me), I'm struck by how minimal and reserved it is. But it changed the direction of my practice entirely.

Edmondson Avenue, 2009. Ink on paper. 9 x 12."

OPP: Earlier drawings are more realistic renderings of city landscapes, but it seems like you have been drawing in a more illustrative, comic style lately, especially in the installations. What led to this shift?

AB: Lately I've been interested in broadening the parameters of my work, so that it is less defined by a visual shorthand that references the built environments of urban spaces. I want it to be more inclusive of imagery that also suggests all the activity that occurs within those spaces. What really draws me to cities, anyway, is the events that happen when our living circumstances are not isolated and homogenous and the way they enable people to collect/collide/interact. 

The somewhat comic stylistic approach of my drawings allows me to incorporate ideas which are less literal and strictly visually descriptive. I like that a comic style, given its bold, graphic qualities, allows me to formally weave together imagery from a lot of really different places—objective, inventive or visionary, metaphoric, etc.

In the Weeds (detail), 2016. Acrylic, flashe, and paper. 10 x 72.'

OPP: Tell us about the process of creating these drawing installations? Are they site-specific? What determines the imagery?

AB: They are always site-specific in the sense that they are constructed almost entirely within the space they will be shown, and are therefore sensitive to the physical peculiarities of whatever that space is. They are often site-specific in the sense that I choose to enfold imagery discovered in the surrounding area to some degree. I've done this in very subtle ways, and I've also built entire pieces that were meant to evoke a specific city (as with RFP in Baltimore). 

I start by looking at the space and by collecting imagery from which to make drawings. I walk around the neighborhood, take pictures and make sketches. Using my sketchbook, I establish parameters for the piece, ideas I want to address or imagery I want to incorporate and roughly how I will engage the space. I sketch out broad compositional outlines for shape on the wall, where I want collage layers to be massed, palette, whether there will be sculptural components or embedded lighting. 

I'll spend the weeks leading up to making a piece preparing raw materials for collage. I roll out drawing paper in my studio, prepare it with color (watered down acrylic, usually), and make hundreds of quick gestural drawings with black acrylic. When I put the piece together in the space, I take anywhere from a day or two to several weeks. Everything is orchestrated very extemporaneously within the parameters I've set. I use different widths of black or colored masking tape and light duty staples to attach pieces to the wall, and sometimes paint directly on the wall, as well.  The final pieces are the result of many layers of collage build up. 

High Winds, 2011. mixed media

OPP: You mentioned RFP, which was a unique installation in that it involved audience participation. What does RFP stand for?

AB: RFP stands for Request for Proposals. Its a term commonly used in city planning for the development of a parcel of land. I wanted to evoke this common usage because Baltimore—like most older, formerly industrial cities—has a fraught and lengthy history with issues surrounding planning. There are neighborhoods with legacies of exclusion borne by restrictive covenants and red-lining, division and isolation of formerly thriving neighborhoods via poorly considered large scale building projects (like highways), disinvestment and civic neglect of neighborhoods (frequently along racial lines), gentrification that prices long term residents out of their homes and established communities. A commonality to all these dynamics is how bound up they are in bureaucratic and political structures that can seem far from the reach or control of the individual citizens that they impact. 

RFP was motivated by an idealistic desire to propose a city democratically shaped in every way by the people who actually live there; it was a request for proposals from the residents of Baltimore.

RFP, 2015. Paper, paint, cardboard, tape, lumber, lights. 2015

OPP: How did the installation evolve?

AB: The piece as it opened on day one was like my other work in its use of paper and collage installation. All of the drawings were recognizably Baltimore; different neighborhoods were woven together throughout the space, commingled without reference to literal geography.

I wanted the piece to feel very welcoming. The piece was orchestrated in a large ground floor former department store space with huge, plate glass windows in front. It was located on West Baltimore Street, an area of the city which a lot of different people traverse for a lot of different reasons every day. In addition to having numerous hand drawn OPEN signs (like the neon ones you see in bodegas) and a sandwich board inviting people in from the sidewalk, I designed the piece so that it would be maximally visible from outside. It stretched all the way to the front so there wasn't any apparent barrier to entry (like the imposing desks that sit at the front of most galleries). All of this was meant to be a reflective backdrop, and the centerpiece of the installation was a big table full of drawing supplies and some loose prompts inviting thought about Baltimore: "I feel the most like I belong here when...", "This city needs...", "My neighborhood is..." etc. 

Visitors were invited to add their writings and drawings to the existing backdrop. During the time the piece was up, more and more of these amassed, so that by the time it came down it was covered with hundreds of contributions, ranging from reminisces, to suggestions, to manifestos, to actual images altering the preexisting ones. 

RFP, 2015. Paper, paint, cardboard, tape, lumber, lights. 

OPP: Was there anything frustrating about depending on the public to complete the work? What was satisfying about it?

AB: Not in this case. We had a large volume of visitors due to the visibility from the sidewalk and the high traffic in the area. The piece was set up so that it would be clear to someone that contributing was the idea without having to ask. The paper on the table was color keyed to the backdrop, in addition to the rolls of tape and drawing supplies were visual cues, and this seemed to work (though I was on hand every day to greet people and answer questions if they had them, too.) There was some initial anxiety that it wouldn't work, or that I'd have to edit contributions (i.e. if someone posted something abusive or hateful), but wonderfully, there was no need. 

Since I was there everyday, I met a lot of people over the course of the piece's life. As satisfying as it was to see (and be surprised by!) the range of physical additions to the piece, the most satisfying was that the piece became a way for me and other visitors to talk to people we might never have met otherwise.  

To see more of Amanda's work, please visit amandaburnham.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). Most recently, Stacia created Renunciation Reliquary as a one-night installation for Chicago Artist Coalition's annual benefit Work in Progress.

OtherPeoplesPixels Interviews Samantha Sethi

Object Impermanence, 2016. 12 drawings on plexiglass, gouache, ice, camcorder, MDF, led lights, HD Monitor with live feed. Dimensions variable.

SAMANTHA SETHI is a multi-media artist working primarily in drawing, installation, sculpture, and video. Freezing and melting both play a significant role in her practice, which explores deterioration, entropy and emphemerality. Her process-based sculptures investigate both the human impact on the environment and nature's impact on cultural sites. Samantha earned her BFA at The School of Visual Arts (New York) in 2006 and just completed her MFA at American University (Washington D.C.) in 2016. In 2017, she attended a residency at the Torpedo Factory (Alexandria, Virginia) was a Fellow at Baltimore’s Coldstream Homestead Montebello Sculpture Park and just began a residency at Creative Alliance, also in Baltimore. Samantha moved there a few weeks ago and is happy to call the city her home.

OtherPeoplesPixels: What interests you about the processes of freezing and melting, generally speaking?

Samantha Sethi: My work comes from an interest in the interplay and reciprocal effects between the natural and built environments. Freezing and melting is a way for me to think about the myriad ways in which the world as we know it was formed and how it continues to change, at rates both perceivable and unimaginable to us. Depending on scale, ice melts very slowly and is barely visible, though we are able to perceive the action of melting in a way that we are unable to observe many larger changes occurring in our environment.

Meltscape, 2015. Frozen and melted pigment and mixed media on handmade paper. 22" x 30"

OPP: When did you first engage them as tools for art-making?

SS: Prior to graduate school, my work was mostly painting. I worked often with media like gouache and watercolor, which both involve actively manipulating how liquids and solids interact. What I love most about watercolor is how the pigment and water move over the surface of the page. Sometimes the end result is not as interesting to me after the work has dried.

Early in grad school, I had the opportunity to do a collaborative performance for a project investigating the idea of “water treatment” in various ways. I resisted the performance aspect initially because I have terrible stage fright but ended up making a piece that changed my practice completely.

OPP: Can you describe the action of the performance?

SS: I stood in a very dark room, holding a ball of ice in one hand while using my other to strike and light a match that illuminates the ice and warms it. As the ice melts, water drips onto the match and extinguishes the fire. I continuously repeated this action for the duration of the opening. This live performance has now been reproduced as a video called Fire and Ice, which is meant to be played on repeat indefinitely.

Landscape Formation, 2015. Water, sand, pigment, garbage. Dimensions variable.

OPP: You mentioned that this changed your practice completely. How so?

SS: I began working in way that attended more to process than final product. Monitoring the melting ice was a slow and meditative experience for me. I couldn’t rush the process, and it gave me time to think and focus on what was happening. I also couldn’t control what happened with the melting ice in the way I previously controlled paint with my own hand. I began melting ice on various surfaces: paper, mylar, the floor. The works on paper, Sedimentation Drawings I, II, and III,  are really documentation of an event or a residue. Landscape Formation in a Room was my first installation. I staged an event in which I allowed pigmented ice to melt on the studio floor to find and mark the topography of the space; the water would pool at lower elevations and avoid otherwise invisible raised points. I then built around the these forms with sand. The work exists now as documentation that plays with landscape photography and models and shifts our understanding of what is real.

Entropic Irrigation System II, 2015. Latex, wood, plastic tubing, ice, plant.

OPP: Melting ice plays a key role in Object Impermanence (2016) and Entropic Irrigation System (2015). But the ice plays a destructive role—erasing the paintings—in one and a constructive role—watering the plant—in the other. Can you talk about this distinction?

SS: Something was missing for the viewer in Landscape Formation—the visible action of the ice melting. I experienced it in making my work, but it was only visible to the audience as a remnant. So I began developing systems to manage the melting ice and to create a stage for the process to be observed. In the first of these systems, Entropic Irrigation System, I cast ice in the forms of the Parthenon, a pyramid, an Aztec temple, the Taj Mahal, and the Colosseum. As the forms melt off the table, a gutter system catches the runoff and channels it into a potted plant. The melting ice is an active process that functions as a stand-in for irrigation, deterioration and other slower forms of change. This piece was exhibited for three weeks, during which I replaced the ice at the start of each day, which became a kind of performance in itself.

Entropic Irrigation System II (detail), 2015

OPP: And Object Impermanence?

SS: That work explores the more destructive nature of melting ice, as well as the ways in which we experience both direct and mediated events. In the first iteration, I placed a new painting on a stand every other day for the duration of the exhibition (twelve paintings total) with a piece of ice melting on top of the image that eroded or washed away part of each painting. A larger tray below collects the runoff from the deteriorating paintings. In this version, the paintings directly reference the floor tiles of the San Marco Basilica in Venice, which is where I first began to form ideas for the piece as I considered the constant struggle against nature and time embodied by that location. A video camera installed above the stand simultaneously records and displays a live feed of the melting ice and its effect on the painting on a large monitor in a separate room. After each painting goes through this process, it is displayed with it predecessors as remnants on a large pedestal.

Object Impermanence, 2016. 12 drawings on plexiglass, gouache, ice, camcorder, MDF, led lights, HD Monitor with live feed. Dimensions variable.

OPP: We've discussed works in which melting is an active process. But in Paver I and Paver II (2016),  the charcoal and resin works and Everywhere is Nowhere (2016), the process of melting is “frozen” as a form. Tell us about these works.

SS: The active-melting pieces are real-time events—performances even—and function as models and metaphors for larger, slower, less visible forms of change. The static pieces are also ways of rendering the natural and built environment that are both empirical and analytical.

Pavers I and II miniaturize a glacial world within a block of faux landscaping material, attempting to be reasonable objects both in their own scale and in the one they model. Both Pavers are primarily made of blue polystyrene insulation foam, which is revealed in the glacial lake carved into the center of each artificial stone. The polystyrene mimics frozen forms of ice, but it’s original function is an insulating material that takes hundreds of years to break down. The charcoal and resin works bring to mind erosion and dissolution at their literal scale, while also referencing diminutive topographies, even galaxies.

Everywhere is Nowhere also captures a sense of place and manipulates scale, though with an approach that is more cartographic than visually representational. The individual topographical forms in the piece each have their source in objects whose change is evident at radically different scales, from clouds to glaciers to continents. The forms appear interchangeable and are produced by layering delicate sheets of hand cut silicone. Each one rests on its own glowing blue shelf installed at various heights. 

Untitled, 2016. Charcoal and resin. Approximately 4" x 6"

OPP: In 2012, your series of gouache paintings called Syncretism looks very different from your current work. Does your recent work grow out of these paintings?

SS: This series—as well as most work I produced prior to graduate school—was drawing and painting. The Syncretism paintings were an early exploration of shifting space and scale, scientific and cultural research, the perception of artificial versus natural, as well as examination of my own identity. I grew up in the U.S. like my mother, but my father and his family are from India. After I completed my BFA, I began studying miniature painting and eastern mythology as both personal and artistic research. 

The behavior of water also is an important theme in this series that continues to influence my present work. Our relationship to water is complicated. We need water to survive, but water can destroy us and everything we have.

Dancers, 2012. Gouache on paper. 16" x 20."

OPP: White tigers show up repeatedly. What's significant about this animal?

SS: White tigers are culturally significant throughout the world and are referenced in several myths. We perceive them as natural and commonly see them on display in zoos and at the circus, but white tigers don’t actually exist in the wild. They are bred and inbred for the recessive gene that produces their stunning black and white markings, however this type of breeding often leads to health problems for the animals. In hindsight, the white tiger paintings were probably the earliest representations of “artificial perceived as natural” in my work. This was also my first use of patterning to reference a culture or a place, which I revisited later in the paintings produced for the Object Impermanence installation.

OPP: You are just about to start a residency at Creative Alliance in Baltimore. How long will you be there? Any plans on what you’ll be working on?

SS: The residency includes a one to three year-long live/work space and a solo exhibition in Creative Alliance’s beautiful gallery. I will be working to produce new work for the show that continues to explore our perception of permanence and change. I am currently in the early stages of a new project that involves physical recording of places and objects in a book of rubbings as well as time-based recording of these same places and objects in the form of video. I began the project while in Berlin this summer and plan to continue here in Baltimore and other places I travel to this year. This is my first proper studio and live/work space since I graduated, and I am excited to have access to this resource and time to continue to develop my practice.

To See more of Samantha's work, please visit samanthasethi.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, and was a 2011-2012 Artist-in-Residence at BOLT in Chicago. Her solo exhibitions include shows at Siena Heights University (2013), Heaven Gallery (2014), the Annex Gallery at Lillstreet Art Center (2014) and Witness, an evolving, durational installation at The Stolbun Collection (Chicago 2017), that could only be viewed via a live broadcast through a Nestcam. Now that the installation is complete, you can watch it via time lapse. Her solo show Sacred Secular is on view through October 4, 2017 at Indianapolis Art Center.