Jyvaskyla Art Museum / Centre for Printmaking
Hannikaisenkatu 39
Jyvaskyla, Finland
6.21 - 9.27, 2009
Graphica Creativa is the oldest international print exhibition in the Nordic countries. It is arranged in Jyväskylä, Finland every third year. The first Graphica Creativa took place in 1975. The purpose of the exhibition is to raise the standard and value of printmaking, to launch and promote printmaking itself and to increase the interest in printmaking in Finland. The next Graphica Creativa exhibition will be held in Summer 2009.
Wednesday, July 1, 2009
Friday, June 26, 2009
Field Notes at Samuel Dorsky Museum of Art
Ecotones and Transition Zones
Hudson Valley Artists 2009
June 13 – September 6, 2009
Opening reception: Saturday June 13, 2009
Samuel Dorsky Museum of Art
State University of New York at New Paltz
New Paltz, NY 12561
Hudson Valley Artists 2009
June 13 – September 6, 2009
Opening reception: Saturday June 13, 2009
Samuel Dorsky Museum of Art
State University of New York at New Paltz
New Paltz, NY 12561
Thursday, June 25, 2009
About the Field Notes Project
The tradition of field notes is to document natural history, natural events, unusual or rare species, behaviors or to study differences. This documentation often includes notes, writings and sketches in a journal format. These documented observations lead us to clues about the world around us that others might find interesting and might be important. Thus, we present our Field Notes: States of Mind, a collaborative project that comprises a video projection, a suite of prints, an artists’ book and a collection of handmade and found objects presented as specimens. This project was created for Grafica Creativa 09, the 12th International Print Triennial at the Jyväskylä Art Museum / Centre for Printmaking in Jyväskylä, Finland, June 13 – September 29, 2009.
During the early half of 2009, five artists collectively rented a 3rd floor studio space at the Barrett Clay Works in Poughkeepsie, New York and designated it as a project space in which to create a virtual exhibition. Through a chance process, they drew numbers to determine a sequence, and then each of the artists spent individual time in the space, creating an installation with their media of choice, documenting their preparation, installation and de-installation. When de-installing their work, each artist left a single element of their installation in the space. The next artist then reacted to the remaining element, either by making use of, or obscuring it as they built their own installation. This sequence continued until the fifth and final installation, which contained components and/or evidence from each of the artists’ interaction with the space. Thus both in concept and reality, cause and effect come into play. A chain reaction begins with randomness similar to that in nature.
Each of the artists participating in the Field Notes project creates images and objects in reaction to the natural environment.
Robert Capozzi's contribution to the Field Notes project details his current investigations on the challenges and reclamation of local geography of New York State’s Hudson River Valley. Through various treks, raking the riverbanks and railways along the historic river, Capozzi has accumulated a vast collection of natures cast offs and artifacts of the industrial revolution. His findings are then considered, arranged and displayed. Paired with the actual found objects, the videotaped process migrates to a documentation of digital prints based on stills that reveal the process and patterning of the artists' research.
Lorrie Fredette is interested in how information and experiences become altered over time. For Field Notes, she employed a lengthy process of collecting, studying, observing, recording and notating the proliferation of poison ivy and its effects. She manipulated and combined these reference materials continually making and re-making them into diagrams, drawings and hand-made objects. These premeditated actions resulted in new works that became generations removed from their starting point remaking them into these other versions for closer inspection.
Dylan McManus studies the violent impact the industrialized human has on the Earth through an examination of such things as expansion, progress, society, cultivation and domestication. His participation in Field Notes is as a representative for this current era of our planet's geologic history. As we progress and live as industrialized humans, we will leave a massive mark on the planet. The strata that can be best represented by McManus' practice is that which will be found in thousands of years, when our fossils will be the acres of dead left over from factory farms, plains of bullet casings found in western Africa, and miles of warehouses and distribution centers filled with the empty husks of toxic products and weapons that we didn't need.
Laura Moriarty explores the relationship between art and nature both aesthetically and in the creative process. Working with pigmented beeswax, the artist exploits the range of effects that can be achieved through the core principles of repeated heating and cooling, inventing her own version of natural history while drawing parallels between human and geologic time. Through a deconstructive process that mimics plate tectonics, Moriarty creates intricate, imagined environments made from the clustered fragments of excavated paintings. Folded, fractured, crumpled and faulted; her pieces become records of the events that formed them. For Field Notes, Moriarty created Skerry, an interior causeway of forms jutting out of a watery floor.
Jill Parisi-Phillips is concerned with the increasingly fast-pasted world we live in and human impact on the environment. Time in the field observing botanical and zoological species and the study of scientific texts inform the delicate, highly detailed sculptural works on paper that she creates. Displayed as fantastic ecosystems, her installations respond to the proximity of the viewer and airflow within a space. Recently Parisi-Phillips has been documenting and recording the movements of her pieces as they freefall through space. Like the anatomy of a bird or the structure of a seedpod, the weight of handmade paper + the shape of a piece, with the factor of ink distribution = “flight” pattern.
Through a collective editing process, each of the artists video footage was reconfigured into a short looping video of the space in various states of filling up and emptying out, demonstrating how time reveals the accumulative effects of humanity, of nature, and of human impact on space.
Photographs, prints, sketches, maps and writings are compiled into this artists’ book, giving the group an opportunity to synthesize their visions by cataloging the process, art specimens and data, as both individual artists and members of a group, reconstructing and reinterpreting the images and events, and creating the possibility of further collaboration on the page.
Field Notes: States of Mind presents us with a unique and exciting opportunity, rich with possibilities for cross-pollination, and making new work that is in response to life on this planet, with the strength of a collective voice. It utilizes our common relationship to our interests, to each other, and to a space that is simultaneously real, imagined, and virtual.
During the early half of 2009, five artists collectively rented a 3rd floor studio space at the Barrett Clay Works in Poughkeepsie, New York and designated it as a project space in which to create a virtual exhibition. Through a chance process, they drew numbers to determine a sequence, and then each of the artists spent individual time in the space, creating an installation with their media of choice, documenting their preparation, installation and de-installation. When de-installing their work, each artist left a single element of their installation in the space. The next artist then reacted to the remaining element, either by making use of, or obscuring it as they built their own installation. This sequence continued until the fifth and final installation, which contained components and/or evidence from each of the artists’ interaction with the space. Thus both in concept and reality, cause and effect come into play. A chain reaction begins with randomness similar to that in nature.
Each of the artists participating in the Field Notes project creates images and objects in reaction to the natural environment.
Robert Capozzi's contribution to the Field Notes project details his current investigations on the challenges and reclamation of local geography of New York State’s Hudson River Valley. Through various treks, raking the riverbanks and railways along the historic river, Capozzi has accumulated a vast collection of natures cast offs and artifacts of the industrial revolution. His findings are then considered, arranged and displayed. Paired with the actual found objects, the videotaped process migrates to a documentation of digital prints based on stills that reveal the process and patterning of the artists' research.
Lorrie Fredette is interested in how information and experiences become altered over time. For Field Notes, she employed a lengthy process of collecting, studying, observing, recording and notating the proliferation of poison ivy and its effects. She manipulated and combined these reference materials continually making and re-making them into diagrams, drawings and hand-made objects. These premeditated actions resulted in new works that became generations removed from their starting point remaking them into these other versions for closer inspection.
Dylan McManus studies the violent impact the industrialized human has on the Earth through an examination of such things as expansion, progress, society, cultivation and domestication. His participation in Field Notes is as a representative for this current era of our planet's geologic history. As we progress and live as industrialized humans, we will leave a massive mark on the planet. The strata that can be best represented by McManus' practice is that which will be found in thousands of years, when our fossils will be the acres of dead left over from factory farms, plains of bullet casings found in western Africa, and miles of warehouses and distribution centers filled with the empty husks of toxic products and weapons that we didn't need.
Laura Moriarty explores the relationship between art and nature both aesthetically and in the creative process. Working with pigmented beeswax, the artist exploits the range of effects that can be achieved through the core principles of repeated heating and cooling, inventing her own version of natural history while drawing parallels between human and geologic time. Through a deconstructive process that mimics plate tectonics, Moriarty creates intricate, imagined environments made from the clustered fragments of excavated paintings. Folded, fractured, crumpled and faulted; her pieces become records of the events that formed them. For Field Notes, Moriarty created Skerry, an interior causeway of forms jutting out of a watery floor.
Jill Parisi-Phillips is concerned with the increasingly fast-pasted world we live in and human impact on the environment. Time in the field observing botanical and zoological species and the study of scientific texts inform the delicate, highly detailed sculptural works on paper that she creates. Displayed as fantastic ecosystems, her installations respond to the proximity of the viewer and airflow within a space. Recently Parisi-Phillips has been documenting and recording the movements of her pieces as they freefall through space. Like the anatomy of a bird or the structure of a seedpod, the weight of handmade paper + the shape of a piece, with the factor of ink distribution = “flight” pattern.
Through a collective editing process, each of the artists video footage was reconfigured into a short looping video of the space in various states of filling up and emptying out, demonstrating how time reveals the accumulative effects of humanity, of nature, and of human impact on space.
Photographs, prints, sketches, maps and writings are compiled into this artists’ book, giving the group an opportunity to synthesize their visions by cataloging the process, art specimens and data, as both individual artists and members of a group, reconstructing and reinterpreting the images and events, and creating the possibility of further collaboration on the page.
Field Notes: States of Mind presents us with a unique and exciting opportunity, rich with possibilities for cross-pollination, and making new work that is in response to life on this planet, with the strength of a collective voice. It utilizes our common relationship to our interests, to each other, and to a space that is simultaneously real, imagined, and virtual.
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