Dialectics of mass and void.
Mixing ardor and ethereality.
Two artists find a mutual fascination with both the aesthetic qualities of repetition and the mechanical means of reproduction.
A new look at the actions, drawings, and sculpture of the late Japanese artist.
The eminent artist discusses her materials, “frozen gestures,” and the illusion of form.
Audra Wolowiec explores the materiality of language via text, sound, sculpture, and collaborative projects. Her recent solo exhibition at Studio 10, entitled ( ), presented both the immateriality and materiality of her subject matter as subtle and poetic experiences.
“With film, you have sound and you can construct this whole environment that allows for a certain feeling to exist for someone watching. There’s more of a burden on a painting to develop these kinds of feelings or experiences in one frame.”
“It’s nice when you can make connections in hindsight. Your life feels like chaos and then you realize that there are patterns.”
“If this is what this material does now, just treat it as a positive thing.“
Navigating the concentric interiors of the Glass Pavilion at the Toledo Museum of Art, the building unfolds along a serpentine walkway. Through the museum’s glass walls, the view opens uninterrupted.
“The absurdity of this material’s resistance made me want to work with the plastic, the peels. The plastic is part of us, part of me and my contribution, too, even if not directly. Plastic is estranged from me, but it is me.”
Painter Scott Olson on stumbling upon materials, the Ohio art scene, and the importance of frames.
Adrienne Antonson on designing smocks, making sculptures out of human hair and the problems of sustainable design.
“Wow, that’s quite a baroque nightmare happening there on your wall … . It’s petrified dragon skin, right?” I’m imagining dinner guests arriving at some home where Daniel Wiener’s acid-trip sculpture Flame Meander is threatening to crawl down and fuse with someone’s spinal column.
One of Sheila Pepe’s choice materials has been the ordinary shoelace, so present in our everyday lives as to be almost invisible. Tying your shoelaces is a ritual shared by most and may hold an exceptional significance for an artist based in New York, this great city of the pedestrian.
I have been fortunate to have such a relationship with Michelle Segre and her work—from collages of gangs of legs cut from comic book pages, gnawed alien-bone mobiles, and giant pieces of moldy bread and larger-than-life mushrooms recalling the soft sculptures of Claes Oldenburg, right up to her current work.
Mies van der Rohe’s statement “God is in the details” came to mind recently as I was thinking about Tamara Zahaykevich’s work.
Ursula Davila-Villa discusses the minimalist work of Jac Lernier as well as the publication of her conversations with Adele Nelson.