On View March 15 - April 20, 2013
Friday, March 15, 2013
6:30 – 8:30 PM, Artist talks at 6 PM
Crystal Palace is an installation consisting of a dimly lit screens painted with photo luminescent-pigment. A custom built green channel laser “projector” will then project graphical interpretations of the space on to the photo luminescent screens for a few minutes. The projector then turns itself off, leaving an embedded image on the wall that slowly fades away. The projections will continue to cycle until the sensor array connected to a hovering robot begins to compile a new data set. The subject matter of the projections are graphical interpretations of the space and are sent directly from the hovering robot to the “projector.” These interpretations will change depending on a number of site specific variables.
In conjunction with the National Council on Education for the Ceramic Arts (NCECA) 47th Annual Conference – Houston, TX – March 20-23, 2013
Thursday, March 21, 2013
6 - 8 PM
REady MADE features the work of six artists who integrate discarded items with clay and ceramic processes as a means of personal expression. Through this investigation the works transform from being “ready mades” to being re-made. While Brian Benfer's work is the resulting residue from his process, Jessica Dupuis and Kamila Szczesna dip their found objects in slip and fire, transforming them into completely new and often unrecognizable compositions. John Emerson takes a vastly different approach, slip casting old objects to create multiples that are then constructed into formal arrangements. While Sharbani Das Gupta also employs the casting process, she then reconstructs these forms with un-altered discards to speak to consumption and lost. Jeff Forster covers found objects in raw clay, exploiting the living quality of the material, to emphasize the fragility of the culture that produced them.
Jessica Dupuis' project is made possible by an Ella Fountain Pratt Emerging Artists Grant from the Durham Arts Council with support from the North Carolina Arts Council, a division of the Department of Cultural Resources.
Richard Nix creates drawings that are rooted in geometry and applies sets of rules that govern the process. An example of these rules includes: “The middle line on a ‘C’ and a ‘D’ note must be in Morse code to the works of Ode to Joy. The background can be colored in when the sum of the lines add up to 9. No line can cross another line." Nix’s intention is to create work based on process and to see what happens when given a set of rules how will these compositions evolve.
Katie Wynne’s installations are exuberant, brushing upon the colors and textures of carnivals, parades and department stores, encapsulating our surrender to comfort and consumption. Duchamp once said of his readymade, Bicycle Wheel, “I enjoyed looking at it, just as I enjoy looking at flames dancing in a fireplace”. The wheel demonstrates a constant movement, yet one without achievement or progress. Wynne’s installation in the Project Space explores this quality of non-action within the context of an American promise, employing a processional format that stretches the length of the gallery in a continuously shifting landscape of stillness and effort.
Rahul Mitra’s Box City, constructed of hundreds of painted cardboard boxes he recycles from trash, echoes slums of his native India and Favela shantytowns. For the last four years, Mitra has been engaged internationally in Europe and India in a critical observation and interpretation of social, economic, political and cultural aspects of the urban centers of the world to question what makes us different or similar. Architecture around the world is a record of human civilizations from the ancient to modern day, and distinguishes economic and social levels of its inhabitants. Slums and Favelas are commonly seen as an urban blight and residence for the destitute. The growth of the Slum/Favela is a reflection of the disparity and economic division in a culture, but having grown up in similar environment, Mitra sees the slum as a ‘resilience of hope’ that is in a precarious balance with the rest of society. Seemingly, a small nudge is all that is needed to make these structures crumble, yet they seem to live on and grow just like the people building and occupying them.
Lawndale Art Center is pleased to announce the 2013 mural on Lawndale's north exterior wall will feature a collaboration between artists Daniel Anguilu and Aaron Parazette. This project will be the third phase of the rotating mural at Lawndale. Both painters employ forms of abstract patterns in their work, though their individual approach differs greatly. Anguilu’s intuitive approach to painting outdoor spaces results in gestural forms that take shape on the wall, while the clean lines and mathematical forms of Parazette’s work result from a more calculated approach to painting.
This project is generously sponsored by Kinzelman Art Consulting, Judy & Scott Nyquist, Deborah Perl, Mellow Mushroom and Power Electrical.