DEANNA KRUEGER’s work sits at the intersection of sculpture, painting and textiles. Her wall-hung Shards, composed of ripped, angular pieces of acrylic monotypes on X-Ray/MRI film stapled together, reference quilting, Minimalist painting and primitive surgery. Deanna graduated Summa Cum Laude with a BFA from University of Michigan and received her MFA with Highest Honors from Eastern Michigan State. In 2014, her work was included in the group exhibitions Meditative Surfaces at the Fort Wayne Museum of Art (Indiana) and the Rockford Midwestern Biennial, on view until September 28, 2014, at the Rockford Art Museum (Illinois). She is currently preparing for a forthcoming solo exhibition at The Robert T. Wright Community Gallery of Art (College of Lake County, Grayslake, Illinois) titled Deanna Krueger: Shimmer. The exhibition opens on February 27, 2015. Deanna lives and works in Chicago.
OtherPeoplesPixels: Could you explain the different parts of the process of creating the works in your series Shards.
Deanna Krueger: I begin by printing acrylic monotypes onto recycled medical diagnostic film (X-Ray/MRI film). The film is then torn apart and the shards are reconnected into new configurations using thousands of staples. The process yields large wall-hanging pieces that are semi-translucent and slightly dimensional.
OPP: What's your favorite part? Least favorite part?
The painting and printing is probably my favorite part. It always seems
to happen too quickly, though I also really enjoy combining the various
nuances of colors on the shards. Tearing the film creates quite a bit
of noise. It sounds like I am taking out my aggression, but it just
makes me laugh as that is usually not the case.
I assemble the pieces while seated on the floor of my studio, which is tile that I painted white so I can see the translucent colors. I set out the shards into little piles of color, much the way a painter lays out her palette. Then it is kind of like a game of seated Twister as I reach and staple, reach and staple. The repetition is meditative. At times I wish I could get my process off the floor to lessen the physical strain, but I always go back to that tile.
OPP: When did you first start working with recycled medical diagnostic film? Where do you get so much of it?
In grad school I was experimenting with translucency on small discarded
Mylar retail signs. My adviser saw what I was doing and mentioned that
someone had dropped off some medical film years ago to the studio. She
gave me about twenty sheets of 14” x 17” film. I instantly fell in love
with the stuff. Acrylic won’t usually stick to plastic, but the film has
a chemical substrate designed to absorb pigment. At that time, I was
working as a preparator and assistant to the Visual Arts Coordinator at
an arts program at the University of Michigan Health System. I made a
lot of contacts with clinics and stockpiled the stuff. Most of what I
got are clear “cleanup” sheets. They are run through the diagnostic
machines between scans to clean off the print rollers, so when you go
for your brain scan there are no accidental ink blobs on your results.
Sometimes people give me their own personal X-Rays and MRIs, and I have
also gotten some over-exposed film. I did some other things with the
film for my MFA thesis show, but my Shards series started the year after I finished.
OPP: Tell us about your choice of staples as the connecting element for the Shards.
DK: In undergrad, I found a used, specialty hand-held stapler. I appreciated its elegance and simplicity. I am a bit obsessed with tools! After my MFA, the medical film and the staples came together. They seemed the perfect match. There is also the connection that staples are often used in surgery. The staples add an edge to the work. I welcome this bit of darkness. . . though they also add sparkle. So there is dark and there is light.
OPP: Let's talk about how practical concerns affect art-making. I imagine these works are difficult to transport. They seem like they might crack or break if rolled up. How do you move this work from one space to another? Has it ever affected where you exhibit or the scale of your work?
DK: Though the pieces look quite delicate, they are actually very sturdy. The film is .7mil BoPET (Biaxially-oriented polyethylene terephthalate). I roll the work up and make long narrow boxes for shipping. Unlike paper or other plastics, it pops right back to flat when unrolled. They have safely shipped to numerous states and to Rome and Berlin. I once shipped eight pieces to Florida all in one box. My largest pieces so far were 75” x 75.” Even those were less than two pounds each. When I am pressed for time, UPS makes the boxes for me. I love to work large. I am disqualified from a lot of shows for it, but I don’t care. I have recently made some at 36” x 36,” but I think the larger ones have more impact. In my current studio I could probably make something as wide as 14 feet. I am waiting for that commission to roll in! Work has only been damaged once. A bunch of rowdy children were running around and yanked on it. It was torn beyond repair. The force required would probably have punctured a typical canvas as well. Thank goodness the venue had insurance.
OPP: Although your Shards are hard and sharp and don't have the same associations of comfort and care, I see quilts when I look at them. Like quilters, you break apart and recombine materials that could be thrown away. And there are embedded stories that aren't legible to the viewer. Are you influenced by quilting or its history?
Yes. I had a duel major in undergrad: Drawing/Painting and Fibers. My
MFA was in Textiles. A lot of viewers have mentioned the similarities to
quilts and also to stained glass. I like the fact that peoples’
histories are embedded in the material. I am transforming what may have
been a negative experience into a more positive thing.
I describe these pieces as sculptural paintings. Unfortunately, I think work in fiber still often has the stigma of being crafty women’s work. I pulled my own little Guerrilla Girl stunt the first time I entered Shards in a juried exhibition. A postcard produced for a show during undergrad had a typo in my name. They spelled it Dean. I got to thinking that the gay, male juror might like a Dean better than a Deanna, so I entered as Dean. I got in and won best in show. I would like to think it would not have mattered. I dropped that charade after the gallery took me into their stable and gave me a solo show.
OPP: The surfaces of the two-dimensional works in Liminal have an amazing, scale-shifting effect. I switch back and forth between seeing relief maps of landforms and microscopic views of ice crystals. Could you talk about the relationship of the very large and the very small in this work? How does this relate to your overall interests in making art?
DK: Geology, fossils, crystalline structures,
growth patterns and topographical maps all inspire and fascinate me. In
fact, a Swiss friend of mine calls me Map Girl, because when traveling I
must know at all times know where we are on the map.
I enjoy creating the fluctuation of micro and macro. That is one common thread between the Liminal and Shards pieces. I love it when people say the work looks so different from far away than it does close up. More intimate observation reveals the layers of intricacy.
OPP: Your titles also get at that fluctuation if you look at them as a group; they reference geology, astronomy and mythology. How important to understanding the work is it that viewers read the titles and get the references?
DK: Viewers can take away as much or as little as they like, though I do enjoy it when people understand or at least explore the conceptual nuances embedded in the work. The geology and astronomy references stem from my interest in science in general. In the astronomical field, many celestial bodies are named after mythological characters. Referencing mythology is my way of calling into question various belief systems. We now know that things the ancients believed are false. Pointing this out is one way of questioning the validity of many beliefs strongly held today.
Featured Artist Interviews are conducted by Chicago-based, interdisciplinary 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 instructor 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 2012-2013 Mentor-in-Residence at BOLT in Chicago. Recent solo exhibitions include I Still Haven’t Found What I’m Looking For (2013) at Klemm Gallery, Siena Heights University (Adrian, Michigan) and Everything You Need is Already Here (2014) at Heaven Gallery in Chicago. Stacia recently created a site-responsive collage installation in her hometown. NEXT: Emerging Virginia Artists runs until October 12, 2014 at the Peninsula Fine Arts Center in Newport News, VA. Here|Now, a two-person exhibition curated by MK Meador and also featuring the work of Jason Uriah White, is on view at Design Cloud in Chicago from July 25 - October, 24, 2014.