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.
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.