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This is a new piece that I am working on. I am using scraps of old linens as the base. The hair is dyed using Manic Panic :-). I am thinking of making a series of smaller, less complicated pieces that I can mount in antique frames and sell on Etsy. What do you think?
Wow, it has almost been a year since I last posted! Yikes!! Well, I guess it has been a big year: I got married and turned 40. I have also taken a break from the hairwork and have been doing some "regular" sewing. Like with thread. On a machine. Not this weirdo hair stuff. I have been itching to get back to the hairwork, however, but perhaps in a different format. Stay tuned. Be well and have a happy new year all!
I have four pieces (two of them above) in a show at Frederieke Taylor in January/February. My good friend Kirsten Nelson, who shows her wonderful sculpture at the same gallery was asked to curate a show of drawings and prints. It will be great to be showing with my fellow Purchase MFA alum, Brian Lund, who was also the best studio mate ever!
In the Viewing Room: display/displace, curated by Kirsten Nelson
16 January – 21 February 2009
Opening: Friday, January 16, 6-8pm
The selected artists use mark-making and invented graphic vocabularies to locate a recognizable trace of a form, a story or a place on the empty page while they retain an ambiguous sense of space. There is no foreground or background to anchor the image in these artists' works, though each approaches this elusive space from a different direction.
Brian Lund uses an invented language of dots, dashes and notations to graph Bob Fosse's film, All That Jazz (1979) in a series of schematic and musical drawings. Brian translates the details of the movie edit-by-edit and mark-by-mark into abstract compositions that pull away from their source material.
Karl Nelson presents detailed fragments of seemingly direct references to specific objects, architectural structures and biomorphic forms in these prints. By eliminating foreground and background and combining unlike forms such as a brick wall and cloud, the images remain open and ambiguous.
Jennifer Perry translates the solid architecture of concrete bunkers and rigid rock forms into delicate and overlapping schematic drawings using small perforations and hair. The modular stacked forms float, detached from their surroundings and context in an open plane.
Eduardo Santiere uses detail and subtle marks to build drawings that allude to a possible and potential place. The fragments of biomorphic and structural forms suggest an imagined space, though recognizable moments of urban and microscopic/cosmic "scapes" can be found in the details of each cluster.
-- FREDERIEKE TAYLOR GALLERY 535 West 22nd Street, 6th Floor New York, NY 10011 t. 646.230.0992 www.frederieketaylorgallery.com
