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 Sarah K. Williams

Mid-Sized Creatures: a 3-act sculptural performance for 3 performers and cello. 2017. 
Performers: Annelyse Gelman, Thalia Beaty, Ashley Williams, and Sarah Williams. Cello: Clare Monfredo. Text: Ashley Williams 

SARAH K. WILLIAMS' background is in painting and sculpture, but "perfectly still objects make [her] restless." She creates scores for sculptural performances, both performing herself and directing others. These hard-to-classify works linger in between theater, performance art and sculpture. Sarah earned her BA in Fine Arts / Art History at The College of William and Mary and her MFA in Fiber and Material Studies at The School of the Art Institute of Chicago. She was a 2017 Fulbright Fellow at Universität der Künste, Institute for New Music in Berlin. She is the founder of the Sprechgesang Institute, a "research-based platform for artists working in an in-between language of two or more disciplines." She is a 2019 Target Margin Theater Institute Fellow and has been an Artist-in-Residence at Vermont studio Center, Studios at MASS MoCA, Theater Magdeburg and Oxbow. Sarah lives and works in Brooklyn, New York.

OtherPeoplesPixels: As you say in your artists statement, you “made still objects once: out of clay and plaster, wire and wood.” Let’s talk about those sculptures first. Works like Sugar Temple (2013), Act I, Scene I (2015) and Over Saturated (2015) have a sense of action in them even though they are static. It’s not they that seem like they would move, but rather that they are sites where some human ritual might be performed. How do you think about ritual, in the world and in your practice? 

Sarah K. Williams: Yes, ritual is an interesting word and not one I often use with my current work, but I can certainly see the relationship with the works you’ve mentioned. I gravitate towards symmetry, repetition, precision, memorized gestures—which I guess are all present within ritualistic activity. But ritual connotes a sense of spirituality, which I have trouble relating to. Certainly I was thinking of sites for human activity—that the piece could potentially be moved or interacted with, though I hadn’t given myself permission to work that way yet. A bit related maybe, “otherworldly” was a word that was tossed around a lot with these works, which bothered me. I’ve become much more interested in the mundane, and finding absurdity within banal activities. 

Error Fishing, 2014. Plaster, polystyrene, expandable foam, clay, tinted water, wire, hook, acrylic and watercolor paint, powdered graphite. 60" x 48" x 36"

OPP: It sounds like stillness of those sculptures was a problem?

SKW: Those pieces are on the cusp of movement. I was feeling very restless with their stillness, even though, as you mention, there is a suggestion of activity. I think we sometimes restrict ourselves too much with titles, too aware of our chosen medium or discipline. At the time, I was too aware of being a Sculptor and frustrated that sculptors make things which sit in space and should be walked around and looked at. Obviously this isn’t helpful, and it meant I was irritated the minute I walked into the studio with all these unmoving things. There was a huge disconnect because my main source of inspiration was music and theater, yet I was trying to squish it into a very small box, under the umbrella of sculpture.

Sample Objects (and their potential movements), 2018

OPP: What is a “sculptural performance?” Is this a term you coined or are you part of a lineage of other artists? 

SKW: I started using the term ‘sculptural performance’ only because it seemed like the most logical and straight-forward way to describe my work. I would describe it as performative work involving a set of invented objects within a specific aesthetic framework. Within this work, I’ve started referring to my sculptures as objects. To me, an object has a functionality to it which a sculpture doesn’t have. I want these objects to exist with a purpose, to be assigned specific characteristics and abilities. 

I wasn’t so aware of this combination of composed sound and movement with strong visual elements until spending time in Berlin. The work which I found the strongest connection to there was in the genre of MusiktheaterI didn’t even know this was a genre! Very different from what we know as Musical Theater in the U.S., these pieces weren’t compelled to follow a narrative, were often very short, experimental, abstract, absurd. To generalize, most pieces seemed to enter a visual world through music composition, while I was the other way around. Exposure to artists like Heiner GoebblesDieter Schnebel, and Mauricio Kagel made a huge impression on me. 

Absorbent Objects: for one performer and 3 objects, 2017.

OPP: You often use the language of music and theater to talk about interacting with the objects you make. There’s the Orchestra of Obsessions and Dissatisfactions (2018) and The Found Sound Research Orchestra (2017). You also create “scores” for objects. Many performances are divided into Acts. Can you talk about this merging of the performing arts with the visual arts? Does this hybridity change the venues where you share your work?

SKW: When I first moved to NYC after grad school, I was completely uninterested in looking at sculpture or painting. I knew I should be going to galleries, openings, things we’re told are necessary as emerging artists, but all I wanted to do was go to the opera. I never had a relationship with opera until my last semester in grad school when I heard Wozzek for the first time and became completely obsessed. I basically spend two solid years learning everything I could about opera. I started working for a couple of small opera companies in NY, and spent hours in the performing arts library looking at scores as drawings, as recipes, as instructions for something that could be tangible. 

There is so much great overlapping vocabulary with sound and visual: vocal color, textures in music, light and dark, hard and soft, etc. I started writing ‘scores’ for sculptures as accompanying documents which might describe how an object moves through the world. In Berlin, I began really leaning into this overlap, which is where the orchestra pieces came from. I became interested in borrowing structural frameworks from other disciplines, approaching them with my own skill sets. How can I work within the conventions of classical music, but through the lens of what I know: material, process, color, form? As I’ve been working this way, I have become less interested in traditional gallery spaces, and more attracted to hybrid spaces, collaborative venues, non-art spaces, offices perhaps. . . 

Orchestra of Obsessions and Dissatisfactions, 2018. 8 minute performance for 9 performers and 11 objects.Ffilmed at The Studios Residency at MASS MoCA. 
Performed by: Kesso Saulnier, Max Colby, Hui-Ying Tsai, David Greenwood, Hyun Jung Ahn, Paolo Arao, Jon Verney, Ashley Strazzinski, and Ashley Williams

OPP: Can you talk about the difference between performing your own work and being a director? 

SKW: I’m much more interested in directing/conducting/writing than performing. I only end up performing by default, and it’s not a comfortable role for me. However, I have to learn about a piece by doing it myself, and then sometimes it’s easier just to execute it without needing to articulate it to someone else. When I do have the opportunity to work with “performers.” I put this is quotes, because I typically work with artists who have a relationship to the types of activities the piece focuses on rather than someone with a performance background and preconceptions about what it means to perform. I often make a track with audio commands as a sort of script. Practically, this is useful because the actions don’t have to be memorized, but I’ve also been playing around with letting the audio track become a more present component to the pieces. I’ve been going to a lot of plays recently which has brought up a lot of opinions about performing versus acting. As I’ve only performed with non-performers, it makes me wonder what would happen if I immersed myself more into a theater environment. 

Fried Book of Conjugated Concerns with Sprig of Thyme: for one muttering performer with multiple concerns. 2017.

OPP: You are the founder and director of Sprechgesang Institute. Tell us about the formation of the Institute.

SKW: The first iteration of Sprechgesang Institute began in Berlin when I was doing a Fulbright there in 2016/17. As I mentioned, I was studying the overlap of opera and sculpture. I enrolled in an experimental music composition department. Between being surrounded almost exclusively by musicians/ composers at the university and my fellow Berlin Fulbrighters in Germany—very few of whom where artists—it became clear to me how refreshing and enormously valuable it was to be outside of a strict Fine Arts community. The foundation of S.I. is made up of people I met while in Germany, paired with people I know here in New York, and a few artists working long-distance. Currently we are a mixture of sculptors, painters, musicians, writers, composers, scientists, journalists, cooks—all interested in finding overlaps within our lines of work. We meet once a month over an elaborate dinner, mostly constructed of tiny sculptural snacks, we staple a lot of things, file things, take roll—it’s all very institutional. 

OPP: What’s the latest project? 

SKW: Our current project is an experimental dining event. Each Artist of the Institute is making a dish—some edible, some not—to be choreographed into a 10-course progression for two performances in mid July. We’re also putting together an accompanying cookbook full of overly-complicated recipes. 

S.I. dinner #1, 2017.

OPP: Aside from Sprechgesang Institute, what’s next for you? Any new projects in the works? 

SKW: I am still digesting a few projects I started while at Vermont Studio Center last month. I’m working on a series of short performances with objects under the theme Critical Response, structured a bit like a concept album. I collaborated with some artists there on a couple of these pieces and they continue to evolve. I’d like to get them to a point where they can be performed back-to-back in quick succession. 

I’m also a fellow at Target Margin Theater this year, which has been a great outlet for exploring the more performative side of my practice. For this, I have an ongoing investigation of gesture and other alternative methods of communication not reliant on text or object. It’s so hard for me to ignore the visual side of things, but such a worthwhile challenge! 

I also have an ongoing project called Aesthetically Complex Pies. It’s exactly what it sounds like. 

To see more of Sarah's work, please visit sarahkwilliams.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 Sarah Beth Woods

Esther and Anonymous, 2015. Hair weave, shoe laces, aluminum. 64" x 30" x 7."

SARAH BETH WOODS employs a range of artistic methods, including sculpture, film and relational aesthetics in her research-based practice. Her sculptural objects and events celebrate the material aspects of feminine adornment—hair braiding, nails and jewelry—and their corollary social spaces. Her formative years on the Southwest side of Chicago influence her ongoing engagement with black, female aesthetics in particular. Sarah earned a BFA at Northern Illinois University and an MFA at the University of Illinois at Urbana Champaign. Her solo exhibitions include Braid & Nails (2015) at Wheaton College and Bricoleur at Azimuth Projects (Chicago, 2014). Sarah collaborated with hair braider Fatima Traore for BRAID/WORK, and they were the recipients of the 2015/2016 Crossing Boundaries PrizeEsther and Anonymous is currently on view in Focus: Fiber 2019 at Kent State University Museum in Ohio through July 28, 2019. BRAID/WORK will be part of a symposium and solo show at Bethel College (Mishawaka, Indiana) in November of 2019. The conceptual girl group The Rhinettes will perform at Experience Threewalls at 15 on June 5th, 2019. Sarah lives and works in Chicago.

OtherPeoplesPixels: Can you talk about the relationship between objects and events in your practice? How do you balance these modes of making?

Sarah Beth Woods: The majority of my training is as a studio artist. In terms of my process, that always comes first and starts with a specific material. I think of my public events as collective performances. They are an important part of the evolution of the work rather than a means to an end. Recently, events have taken the form of musical performances and collective braiding sessions.  I’m interested in the act of braiding and the labor associated with the hand work as a common denominator or language shared by different communities. These events provide pragmatic ways to engage a specific audience while collectively thinking through materials. During Shared Language, curated by Tempestt Hazel at the Arts Incubator, Fatima Traore and I were able to braid and exchange stories with women from the Academy of Beauty and Culture, a beauty school on the West side of Chicago.

What does it feel like for a girl?, 2012. Bath poufs, hair weave, ribbon, felt, clamp lights, lightbulbs, steel. 14" x 10" x 58."

OPP: What does performance mean to you—both as an art form and in terms of our various identities?

SBW: For me, performance has everything to do with process and improvisation. We all perform specific parts of our identities on a daily basis. It’s a performance because it’s not innate; it’s learned and then acted out. During the research phase of my recent 16mm reversal film Hear the Glow of Electric Lights, I became really interested in female body comportment, specifically Maxine Powell’s finishing school at Motown and the methods she employed to train the Supremes to be “lady-like.” Powell spent a lot of time training the women how to get in and out of a car gracefully, with poise and posture. This was a strategic marketing ploy that has everything to do with class and respectability politics. I’m interested in the ways these ideas are inscribed on to the body through repetition and performance. Similar to content in BRAID/WORK, there was a lot of behind-the-scenes labor that went into this process.

Kayla, 2015. acrylic nails, pom-poms, googley eyes, glitter, confetti.

OPP: Tell us about your work with Fatima Traore. How did you two first meet and start working together?

SBW: Fatima Traore and I met when she was braiding hair during the Mappy Hair Project at the Gray Center for the Arts in 2013. We started braiding together informally. On some occasions, I would paint nails while she braided. We did pop-up salons for Prime Time at the MCA, the South Side Community Art Center and the 75th Anniversary Block Party at Hyde Park Art Center. We also did work together with Tracer’s Book Club, a group of international, intersectional feminist artists founded by Chicago-based filmmaker Jennifer Reeder.

BRAID/WORK, 2016. In collaboration with Fatima Traore.

OPP: Together, you were the recipients of the 2015/2016 Crossing Boundaries Prize awarded by Arts+Public Life & the Center for the Study of Race, Politics and Culture at the University of Chicago. What did this prize fund? 

SBW: The Crossing Boundaries Prize allowed Fatima Traore and I to complete BRAID/WORK, a collaboration that investigates the history and aesthetics of African hair braiding through a material and performative lens. We braided hair at Art on Sedgwick, a community art center located in the Marshall Fields garden apartments in Chicago's Old Town neighborhood and The Museum of Contemporary Art Chicago. There was a culminating reception and catalogue release at the Arts Incubator. The material components of this project—my hair sculptures and staged photographs of a fictional work space featuring Fatima braiding—were included in a show under the same name at Rootwork Gallery in 2016. The photographs were taken by Cecil McDonald, Jr.

DBL RAINBOW SWEET TWIST, 2016. Hair weave, foam, photo collage, comb, door knocker earrings, chain. 10" x 50" x 9."

OPP: What effect did this collaboration have on the work you make alone?

SBW: The experience taught me a lot about the ins and outs of collaborative risk taking, as well as potential ways to utilize institutional critique to investigate cultural paradigms embedded in the ways we look, think and critique. I’m currently reading Reversed Gaze: An African Ethnography of American Anthropology by Mwenda Ntarangwi, who examines his own lived experience as an African scholar studying anthropology in America with a focus on representation and self-reflexivity. I’m at a pivotal point with my sculptural work where I’m asking and requiring more from objects beyond their immediate purpose, especially the potential for characters or activations within narrative film.

OPP: In 2016, Mailee Hung wrote for Daily Serving about BRAID/WORK :“Woods is a white woman who spent her formative years in a primarily Black, middle-class neighborhood of Chicago, and she is highly cognizant of the dangers of appropriation her privilege affords.” How do you handle these dangers while working with “black material culture” as a white woman?

SBW: Fashion and hair style have never been static or fixed things. Style is always in the act of being appropriated, modified, or morphing into something else. Artifice brings these ideas to the surface, because it pronounces itself as artifice. It probes at the boundaries that spring up around markers of identity. I’m much more interested in creolization which actively moves against fixed identities and towards cross cultural, transcultural and hybrid forms.

The Rhinettes

OPP: Most recently, you’ve been investigating the aesthetics of the performances of 1960s girl groups. Who are The Rhinettes and how are they a “conceptual girl group,” as opposed to a girl group?

SBW: My interest in artifice and the performing body, as well as black and white cross-over appeal led me to the Supremes’ first performance of “Come See About Me” choreographed by Cholly Atkins on the Shindig television show in 1964. I’m really interested in early girl groups and their first televised appearances, as well as the technological spaces that they occupy. Politically, sonically and visually, it was an important and complex moment in American history. In 2017, I formed what I refer to as a “conceptual girl group” with Anya Jenkins, Alexis Strowder, and Yahkirah Beard, who is a professional dancer. She’s appeared on the television show Empire several times; her energy is incredible! We’re like a conceptual cover band—we don’t record or play instruments, and we only cover one Supremes' song. 

Hear the Glow of Electric Lights.16mm reversal film. 2017

OPP: How do viewers/listeners encounter The Rhinettes?

SBW: We’ve performed at Silent Funny, a mixed-use arts space on the far West side and the Jane Addams Hull House Museum during a series called Making the West Side, which aired on Can TV. The material component of the project is Hear the Glow of Electric Lights, a research-based, 16mm reversal film that I've been working on for several years. The content of the work is revealed through concealment, codes and learned body language, drawing attention to what we’ve been taught cannot simultaneously exist: beauty, power and the political. Pop culture scholar Jaap Kooijman articulated it well: “the power of the image, and in extension the Diana Ross star image, lies in its embodiment of the contradiction between fashion and politics, and its refusal to accept that those two cannot go together.” The remainder of the project is being shot and edited through 2019.

To see more of Sarah Beth's work, please visit sarahbethwoods.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 Laura Mosquera

Left to right: This Weight I Feel Is Yours; Grasp, Clench, Slip; To Begin With Control; The Sounds Between and Through.2018

LAURA MOSQUERA uses difficult human emotions as the impetus for her abstract paintings. The resulting works are collisions of color, shape and pattern. Her shaped canvases give the impression of patterns in motion. They are like bodies attempting to invade or escape one another. Laura received her BFA and her MFA from The School of the Art Institute of Chicago. Her most recent solo exhibition was Close to the Bone and Skin (2018) at Rosefsky Gallery (Binghamton University, New York). Eight billboards of her paintings are permanently exhibited at the Chicago Avenue Red Line station in Chicago. Recent group shows included  Onyx at Alfa gallery (Miami) and ESCAPE/ISM? at Atlantic gallery (New York). Her work is currently included in Ineffable Manifestations at the Institute of Sacred Music (Yale University) through June 18, 2019. Laura lives and works in Brooklyn, New York.

OtherPeoplesPixels: It seems like you began as a figurative painter and shifted completely into geometric abstraction in the last few years. Is that true? Tell us a bit about your interests in the early figurative work?

Laura Mosquera: I began painting figuratively as it was the most identifiable and direct way to work out my ideas. At the time, it provided the most authentic process for me to capture fleeting moments of experience within a non-linear narrative. In these figurative pieces, I used abstracted environments to describe a shared psychological space to support the emotional content of the work. It has been nine years since the space itself became the sole focus. With figures removed, abstract forms and the space and shapes they create have become paramount in capturing the psychology of singular moments of fleeting emotion.

Somewhere In Between, 2010. Oil and acrylic on linen. 56" x 48"

OPP: Tell us about the shift away from representation into abstraction. Was there one body of work or painting that was the first completely abstract work? 

LM: During the years I worked figuratively, the process of making those paintings was always very clear to me. In time, I started to lose the clarity of my initial intent, and I began questioning why I was making the work. As seen in my earliest paintings, abstraction has always been a central element of my visual vocabulary. However, with getting older, the complexities of life are compounding and abstraction has become the most direct approach to speak to those unnameable concerns of daily life. It continues to be an evolving process.

Around the Edges, 2017. acrylic, flashe and gouache on panel. 18" x 24"

OPP: I think a lot about collage when looking at the work from InterplayEquations and Close to the Bone and Skin. Has collage ever been part of your process? What about sketching?

LM: Sketching has been part of my thought process since childhood, whereas I didn’t start utilizing collage until graduate school. I used both to construct the compositions of my earlier figurative paintings. 

When I moved to abstraction, the traditional method of using collage fell away and drawing and sketching became paramount. Still, my current works are constructed in stages, very much like a collage, except with paint. 

In this last year, traditional collage has been making its way back into the work. I’ve kept scraps of printed paper for years, some for almost twenty, and I am just now incorporating them into the paintings. 

The Space Between, 2019. Acrylic and gouache on panel. 10" x 8"

OPP: Pattern seems to be a metaphor. Can you talk about the relationship between conflict and harmony in Close to the Bone and Skin (2018)? 

LM: In my works, color, pattern and texture in addition to size and form all define shapes in relationship to each other. These relationships are what constitute the entire work. Every choice embodies emotion, ideas and memories. Sometimes these shapes work and flow together and sometimes they don’t. When a shape with saturated color and a tight pattern is placed next to another with a wash and a looser texture, it creates a relationship or narrative. I'm interested in those elements working together to become a cohesive whole, but not in an obvious way. I am most drawn to moments of visual tension or when things don't quite make sense, finding these complex relationships engaging as they parallel the real world.

Not Enough To Stay, 2018. Acrylic, flashe and gouache on canvas. 48 1/2" x 60"

OPP: Curves are very rare in your paintings. Can you talk about the dominance of sharp, angular lines? 

LM: When I removed the figure from my paintings, I was living in Savannah, Georgia and curves remained very much part of my work. Sharp and angular lines became dominant after moving back to an urban environment, and they are indicative of the New York architecture I used as inspiration. In the current body of work, these elements are incorporated as metaphors for rigidity and obsessiveness.

Something More Than Free, 2016. acrylic, flashe and gouache on canvas. 79-1/4" x 88-3/4" x 22"

OPP: The shaped canvases are so good! What led you to break out of the rectangle? How is the process for creating works like Not Enough To Stay (2018), Something More Than Free (2016), and Grab and Hold (2017) different from painting a conventional rectangle?

LM: Thank you very much! Working with a rectangle the creative process starts for me once the canvas is properly stretched and gessoed. With the shaped canvases, the creativity starts at the moment of construction since the shape of the work is also a carrier of the content.

While I was making the rectangular paintings, I realized there was an opportunity to have the content of the work inform the shape of the frame, further describing the nature of each painting. 

In my current work, I use the physical shape of the canvas to depict a psychological state or emotional effect. The relationships of the shapes within the painting are dynamic and can push, pierce and rest against each other, defining themselves and how they relate to one another communicating experience.

To see more of Laura's work, please visit lauramosquera.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.


Lotsa March Deadlines!!!!

We've highlighted them before, but in case you forgot, March is a hot month for applying to Artist Residencies. So many to choose from. If you don't have summer plans, it's time to apply for time in the studio.

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Due March 1

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Kimmel Harding Nelson Center for the Arts — Nebraska City, Nebraska

Deadline: March 1
Application Fee: $35
Length: 2-8 weeks, July 1 - December 20, 2019
Stipend: $100 a week
Food: none, but apartments have kitchens

The Kimmel Harding Nelson Center for the Arts offers approximately 70 juried residencies per year to visual artists, writers, composers, and interdisciplinary artists from across the country and around the world. Nebraska artists and those transitioning from graduate school receive special consideration by the Kimmel Harding Nelson Center.

KHN features living space for five residents in three apartments. Two large double-occupancy apartments feature private bedrooms with en suite baths, and spacious shared kitchen, living, and dining rooms. Composers stay in the garden-level efficiency apartment, located under the composition studio.

All apartments are furnished with basic necessities such as dishes, pots and pans, and kitchen appliances, and a basic spice pantry. Bedroom and bath linens are provided. Each apartment has private control for heating or air conditioning. Onsite laundry facilities are available for residents. The Center maintains two bicycles for residents' use.

Visual artists work in one of three studios, two of which are approximately 425 square feet and one that is 258 square feet, outfitted with work tables, running water and storage shelves. Hand tools, a table saw, a hand saw and painting easels are available. The studios feature full-spectrum LED track lighting with moveable fixtures, as well as overhead daylight fluorescent fixtures. The two larger studios have garage doors which may be opened to face the alley.

KHN gives special support to emerging artists by reserving a number of "transitional" residencies for recent masters degree graduates (within two years of application deadline). The application process is the same for all applicants, however applications from artists in transition following graduation from an accredited degree program receive special consideration.*

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Millay Colony Residency — Austerlitz, New York

Deadline: March 1 for August-November
Application Fee: $35 fee or $50 for the Extended Deadline
Length: 2-4 weeks
Food: Our chef cooks healthy delicious dinners and also provides food for residents to cook their own day-time meals. We are happy to respond to food allergies as well as vegetarian, vegan and other diets. We have a barbecue for outdoor grilling and get-togethers.

The Millay Colony is an artists residency program in Upstate New York offering one-month and two-week retreats to six visual artists, writers and composers each month between April and November. We also offer a select number of group residencies for collaborating artists and virtual residencies for those who can’t spend prolonged time away from home. We welcome artists of all ages, from all cultures and communities, and in all stages of their career. Each residency includes a private bedroom and studio as well as ample time to work in a gorgeous atmosphere. We do not emphasize events or production goals. We believe we can offer artists nothing more precious than the chance to work, and we provide everything an artist needs to organize her time for maximum productivity.*

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DUE MARCH 6

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Banff Artist in Residence Summer 2019 — Banff, Alberta, Canada

Deadline: March 6
Application fee: 
$65 for each individual or group application. Individual group members must pay an additional registration fee of $35 on acceptance.
Stipend: 
*Financial Aid up to 100% covering tuition and shared room accommodation will be offered to all participants due to renovations taking place in Glyde Hall, the Banff Centre’s Visual Arts building. Meals plans are not eligible. If you would like to be considered, please complete the Financial Aid section when uploading your supporting materials.
Length: July 22 - August 23, 2019

The Banff Artist in Residence (BAiR) program is designed for visual artists to focus on their own practice in a supportive learning environment. Participants are encouraged to explore new ideas, create, self-direct their research and time, and cultivate new directions in their work — all while surrounded by a community of peers within Banff Centre’s spectacular mountain setting. 

The program encourages experimentation and risk-taking, via access to shared production facilities and knowledgeable staff who are available to provide technical support and assistance.* Participants may attend talks, exhibitions, and performances by world-renowned visiting artists as well as receive studio visits from program guest artists. In addition, participants have the opportunity to build connections, create networks, collaborate, and share their work with other artists-in-residence and the public.

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DUE MARCH 10

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ACRE — Steuben, Wisconsin 

Deadline: March 10
Application Fee: Through February 28: $40; February 28-March 10: $50
Length: 2 weeks, 3 sessions
Residency Fee: 14-Day Session: $700
Funding: Numerous scholarships available. click here for eligibility. 
Food: Breakfast is provided each morning in the lodge, available from 8-10am, continental style. Residents eat lunch and dinner communally in a large screened-in outdoor dining hall/kitchen. Prepared by a large team of chefs and assistants, each meal is made from locally-sourced meats, veggies, and dairy. Options for vegans and vegetarians are available upon request, and food is prepared specially for those with other dietary restrictions.

Session 1: July 1-14
Session 2: July 18-31
Session 3: August 5-18

ACRE (Artists’ Cooperative Residency and Exhibitions) is an artist-run non-profit based in Chicago devoted to employing various systems of support for emerging artists and to creating a generative community of cultural producers. ACRE investigates and institutes models designed to help artists develop, present, and discuss their practices by providing forums for idea exchange, interdisciplinary collaboration, and experimental projects. Please note that studios are set up as shared work-spaces. Private work spaces are limited to your apartment. If you are seeking a solitary residency experience or require private accommodations, ACRE may not be the right program for you.

Most residents stay in the sprawling Steuben Lodge, which houses around 40 people and contains a large central area that includes a library with limited wireless internet, breakfast area, computers, printers and scanners for everyone’s use, and more.*

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DUE MARCH 15

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Djerassi — Santa Cruz Mountains, California

Deadline: March 15
Application fee: 
$45; $65 up to one week after deadline
Stipend: 
Ford Family Foundation Residency, available to visual and media artists who reside full-time in Oregon, will reimburse fellows for the cost of air travel and shipping of materials.
Length: 
4-5 weeks

Residencies are awarded competitively, at no cost, to national and international artists in the disciplines of choreography, literature, music composition, visual arts, media arts, and science. There are 6 residency sessions each year: 5 are 4 weeks long and 1 that includes Open House/Open Studios is 5 weeks long. One session is devoted to Scientific Delirium Madness and the intersection of art and science. No shortened or partial residencies are offered. 

Djerassi Program is designed as a retreat experience to pursue personal creative work and share collegial interaction within a small community of artists. In this spirit residents are expected to commit themselves for the entire residency session they are awarded.

Our Program chef prepares communal dinners Monday through Friday, and provisions both kitchens. Residents prepare their own breakfasts, lunches, and weekend dinners using ingredients supplied by the Program.

Djerassi Program offers residencies during the regular season, which run from mid-March through mid-November. Winter Residencies for alumni of the Djerassi Program designed to be far more independent and substantially different from the regular residency.* 

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Plyspace Residency — Muncie, Indiana

Deadline: March 15
Application Fee: $25 
Stipend: $500 travel stipend for regular residents; $1500 for Resident Fellows to be used for travel and living expenses and up to $1000 in funding toward their proposed collaborative project 
Length: 4-12 weeks 
Housing: accommodations on the second floor of PlySpace, a post-victorian house built in 1916, in the Emily Kimbrough Historic District of downtown Muncie, Indiana. The living quarters will include a private bedroom, private or shared bath, a shared living space, shared laundry facilities, and a shared full kitchen.

PlySpace is an artist-in-residence program dedicated to offering visual artists, writers, performers, designers, and other creative individuals time and space to investigate and pursue their own practices. Additionally, it serves as a platform for experimentation and provocation by catalyzing conversation and collaboration with various Muncie communities. PlySpace facilitates various opportunities for residents to engage with the public through partnership and programming that is tailored to their area of interest.

Each resident will propose a personal project as well as a project to be completed in partnership with a community collaborator. PlySpace will work with both parties to encourage a successful and fulfilling collaboration. For more information on community partners and collaborations, take a look at the Community Collaborators page.

Selected residents will be offered one of two types of residency. The type of residency offered will be determined by the Admissions Panel and Final Selection Committee during the admissions process. All residencies include living space in PlySpace and studio space across the street at Madjax, a center for innovation and design. 

PlySpace Residents will be offered living quarters, studio amenities, and will be paired with a community collaborator based on their personal and collaborative project proposals and interests. Residents are expected to complete a public talk about their work and complete a project in partnership with their Community Collaborator. Resident Artists will have full access to the PlySpace studio spaces at Madjax as well as limited access to the School of Art (SOA) facilities at Ball State University. They will receive a $500 travel stipend for their residency period, between 4 and 12 weeks.

PlySpace Resident Fellows will be offered living quarters, studio amenities, and will be paired with the Ball State University School of Art as their community collaborator. Resident Fellows are expected to conduct multiple public programs connected to their practice through their partnership with the SOA. Resident Fellows will have access to the SOA facilities necessary to complete their projects as well as the PlySpace studio spaces. Resident Fellows will receive a $1500 stipend provided by PlySpace to be used for travel and living expenses and up to $1000 in funding toward their proposed collaborative project and supplies. Resident Fellows must plan a 9 to 12 week residency stay.

Three individual or collective applicants will be accepted for each residency term (one PlySpace Resident Fellow and two PlySpace Residents).

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Roswell Artist-in-Residence Program — Roswell, New Mexico

Deadline: March 15
Application Fee: $25
Stipend: $800 per month is offered along with $100 for a spouse/partner and $200 per child living with the grantee.
Length: 1 year

The studios are large, open spaces that measure approximately 30 'x 25 'x 10'. These areas are well-lighted and convertible to the artist's requirements. Artists are housed in a complex of six houses and 10 studios located on fifty acres of land. Each artist is provided with a house that can amply accommodate either a single person or a family. Rent, utilities (except telephone), repairs and maintenance costs are borne by the Program. Houses are furnished with major furniture items, appliances and utensils within reason. The printmaking facility is a small, fully operational studio - basically lithographic/etching in nature. No dogs. Cats allowed, but should be kept inside due to coyotes.*

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For more March Residency Deadlines, visit artistcommunities.org.


OtherPeoplesPixels Interviews Corey Postiglione

Baroque Tango #3, 2018. Acrylic on canvas. 40 x 80 inches.

COREY POSTIGLIONE's paintings use the visual language of geometric abstraction in combination with the literary device of metaphor. In crisp, flat color, he returns again and again to the curved line, the oval and the interlocking chain, allowing the meaning of these recurring forms to shift from painting to painting. Corey received a BFA in Studio Arts at the University of Illinois at Chicago and a MA in Art History and Critical Theory from the School of The Art Institute of Chicago. He has exhibited widely since the 1970s with solo shows at Thomas Masters Gallery (Chicago), Westbrook Modern Gallery (Carmel, CA) and Jan Cicero Gallery (Chicago), among others. In addition to his career as a practicing artist, his critical writing has been published in Artforum, The New Art Examiner, Dialogue, and C-Magazine (Toronto). He was a founding member of the Chicago Art Critics Association. He is currently Professor Emeritus from Columbia College Chicago where he taught Art History and Critical Theory as well as studio arts for over 25 years. You can see his work through March 1, 2019 in Curators Create Second Biennial at the Bridgeport Art Center (Chicago). Corey lives and works in Chicago.

OtherPeoplesPixels: How do geometric abstraction and metaphor work together in your paintings? Are they balanced equally, or does one drive the work more?

Corey Postiglione: This question is essential to my entire artistic practice, which extends over many years. I have always been attracted to the possibilities of abstraction—especially the geometric style— for its formal innovation, its freedom for color, no longer restricted to nature, and its potential for ambiguity of content. This last is where I have used abstraction for its metaphorical possibilities referencing such things as population growth (the Exponential series) or the recent effects of globalization (the Tango series). Also in this regard, the concept of personal “life paths” began with the Labyrinth series in the early 90s. 

Vortex # 14, 2017. Acrylic on canvas. 16 x 16 inches.

OPP: Your titles are significant in terms of pointing to the metaphors, which are still quite open to interpretation. What do TangosVortexes and Lines of Flight have in common?

CP: All these series rely on certain themes mentioned above, a visual complexity or conundrum; the lines suggest flight or trajectories.  In fact I named one series of works Lines of Flight, for the possibility of escape. The Vortex series just increases the above concepts of visual complexity in the extreme as a metaphor for our current condition: where do we fit in this complex network of international globalization.

Dancer in the Dark #2, 2016. Acrylic on canvas. 30 x 30 inches.

OPP: You’ve been working with recurring visual motifs for at least 15 years (if not more). What keeps you excited about curved lines, ovals and interlocking chains? Are you ever tempted to paint something drastically different?

CP: Since the 2000s, I have mainly used curved forms, ovals, circles, to further my themes of complexity and interconnectedness.  Moreover, what I like about using these curved forms is that they can be both mathematically geometric but at the same time suggest organic images.

The artist Robert Mangold, one of my early heroes, has said that when you reach a certain point in a series and it no longer provides a new and exciting place to go. In other words, when you have exhausted the possibilities, then you need to move on. This is excellent advice and one I take very seriously. Cezanne’s’ doubt is always hovering over you in the studio. However, these forms continue to supply me with new and exciting ways to create fresh work. But when that time comes, when I feel these forms are no longer providing new and innovative visual possibilities, I will take Mangold’s advice and move on.

Tango Primary WBG, 2012. Acrylic on canvas. 40" x 40."

OPP: You’ve written that you are “inspired by the great utopian notions of late modernism (the cult of the right angle),” but it seems you haven’t painted a right angle lately. How would you describe your relationship to Modernism? 

CP: This is a very complex question but a good one. In the early 90s, I started to question the notion that Modernism—or maybe more precisely Modernity—could solve the world’s problems through technology, science, design and aesthetics. I specifically titled a piece Utopian Dreams, visually referencing these doubts. We also saw the rise of Postmodernism(s) that critiqued traditional modernism. I never rejected the right angle, and some of the early Labyrinth series incorporated a stricter geometry. The curved forms just provided me with a more complex lexicon of visual potential that would better serve my personal and political content.

Tango Eclipse Diptych, 2015. Acrylic on canvas. 40 x 60 inches.

OPP: What’s happening in your studio right now?

CP: I am continuing to explore new visual permutations with these curved forms. I am currently working on The Baroque Tango series. It follows the extravagant ideas imbedded in the concept of the Baroque: a rich and strong palette, emphasis on movement across the pictorial field and spatial complexity. It should be noted that as much as I strive to embody my abstraction with life-world content, I have always tried to make work that was visually generous in color and form. In other words, I want the work to seduce the viewer. I want the work to also be about the pleasure of the aesthetic experience, what Andrea K. Scott recently referred to as “retinal pleasure.” This is whether one gets what ideas are behind the making of the work. Otherwise I would just put up a didactic written statement. No, I am still an advocate of Visual Art with the emphasis on the visual.


To see more of Corey's work, please visit coreypostiglione.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 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.


OtherPeoplesPixels Interviews Claes Gabriel

The ouroboros, 2016. Acrylic on canvas. 36" x 35"

CLAES GABRIEL's (@claesgabriel) work is energetic, even hypnotic. His paintings push the boundaries of what paintings are. In addition to the conventional rectangle, he shapes his canvases to mimic masks and statues. These works, which put mythological and historical figures on equal footing, vibrate with color and pattern, making it difficult to look away. Claes earned a Bachelor of Fine Arts in Painting and Sculpture at the Maryland Institute College of Art in 1999. Exhibitions include Stand In (2016) at Automat Gallery (Philadelphia), Images from the Floating World: The Works of Claes Gabriel and Tyler Wilkinson (2017) at University City Arts League (Philadelphia) and solo show Thicker Than Water (2015) at Platform Gallery (Baltimore). Most recently Other Than Human was on view at the Philadelphia International Airport, and he was featured in the online literary journal A Gathering Together (Spring 2018). His work is included in the permanent collection of the Walters Art Museum in Baltimore, MD. Claes currently lives and works in West Philadelphia. 

OtherPeoplesPixels: Have you always been a painter? 

Claes Gabriel: What a great question: have I always been a painter? I just read Alan WattsBecome What You Are. so in a way, yes. But mainly because my father was a painter. He studied in Paris and New York and came back to Haiti with a fierce style which he passed on to me. The content of my work followed the change, I think. 

Esther, 2017. Acrylic on shaped canvas. 69" x 40" x 30."

OPP: When did you first start painting on shaped, sculptural canvases? 

CG: I began to shape canvas in college almost twenty years ago. I was fascinated by Frank Stella, Elsworth Kelly and Sam Gilliam. They broke out of the square shape. I wanted to mix what I learned from them with the rich Haitian history I come from. Usually I make the structures, then stretch and gesso my canvas and then begin drawing with charcoal.

The Haitian Revolution, 2017. Acrylic on canvas. 72" x 56"

OPP: You’ve represented archetypal figures such as The Elder and The Sea Nymph, goddesses from various parts of the world, including Circe and Green Tara, and historical figures like Little Ruby Bridges and Touissant Louverture. Can you talk about the way mythology and history live together in your practice?

CG: Mythology—that comes from my childhood in Haiti. I grew up hearing the voodoo drums in the background. We talk of spirits as if they are a real thing. The history part is simple. I have a pulpit as an artist that I want to use to bring up issues we may have forgotten that are still relevant. 

Little Ruby Bridges, 2018. Acrylic on linen. 15" x 6" x 4."

OPP: I was really struck by the image on your website that shows you standing on a stool working on The Harlequin. It emphasizes that these statues tower over you. Can you talk about the scale of the statues and the masks as they relate to the emotional tone you hope to evoke for the viewer?

CG: If I make the piece slightly larger than life, it might seem more human.

Queen of Time, 2016. Acrylic on shaped canvas. 50" x 36" x 12."

OPP: Can you talk about those recurring concentric circles, the undulating shapes of the masks and your palette?

CG: I think of tibetan sand paintings when I am making the circles. It's a meditation. 

The Ouroboros, 2017. Acrylic on canvas. 40" x 50."

OPP: What does the ouroboros mean to you? You have at least three different paintings with that same title. 

CG: I will probably keep working on that theme. It’s the snake eating itself. The best thing I could think of for a self portrait.

To see more of Claes' work, please visit claesgabriel.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.