Monthly Archives: December 2009

Talking to George Boorujy

Question: Tell me about “Pronghorn”

“It could be a pronghorn at the moment of predation or demise. Or not.”
Sorry to be vague, but I guess the work is open ended.

Pronghorn, 2005


Talking to Carrie M. Becker

Question: Tell me about “Emergent Structures”

I’m a third year MFA grad preparing for my thesis show in March, and my latest body of work is very new to me. Before I go into that, I’d like to mention that before I went back to school, I was a commercial photography assistant in Chicago for five years. There came a point where photography had lost its luster for me and I started toying with the idea of creating installation as an outlet instead.   At its most basic, I utilize materials that I want to use (stretchy fabric, wax and plastic) and  I’m never quite sure of what I’m making until it’s done. About six months ago, I feel in love with photography again and started documenting abandoned farmhouses within a 200-mile radius of where I live in Kansas.  The properties were so great-crumbling plaster and peeling wallpaper; it felt very passive to merely document them.

My sculptural work was riding a line between being plant-like and parasitic, and I decided that it was both.  Installing the pieces by themselves in the gallery context provided too sterile an environment and on a whim, I ended up installing one piece in an attic of an abandoned house. Suddenly, all the pieces fit together and I was able to see the larger body of work for what it is: an intertwining, interloping, invading, non-native species that consumes what it touches and lives in spaces that humans once inhabited. It’s mold, it’s dust, it’s all of that. Emergent Structures refers to a phrase in biology that describes a unpredictable, random patterning, and my usage of the term alludes to the eventual appearance of “life” in a particular space that will take over without warning and eventually reclaim.


Talking to Mimi Norrgren

Question: tell me about Sculpture and Performance

My work is tugged between sculptural object and performative action. I want the work to be both emotionally and intellectually powerful and therefore I test it by experimenting in sound, video and workshop materials. Not all the sensibilities in my work are yet consciously understood for example I recognise some depth of image that seems associated with my Swedish ancestry.

Talking to Kevin E. Taylor

Question: Tell me about your work?
My work attempts to expose the animal within.  All things are natural.


Talking to Gabriela Morawetz

Question: Tell me about “Closer To Me Than Myself”

The ” Two ” symbolize the battle between the ego and the alter ego. The viewer is placed in the position of the alter ego in relation to the characters represented in my work.

Looking at others, we  recognize oneself… Paradoxically, there is a narcissistic aspect relating to others, as it revisits its own image. As for the mirror effect, we find ourselves bound and locked by the “link” that takes us back inevitably to ourselves and thus we are removed from the outside.

The issue of duality that accompanies all individuals….To be free from all doubts and all dangers, we hide behind our “other self” inseparable but unknown.



ArtCzar welcomes Amelia Winger-Bearskin

Nashville Senior Correspondent.


Talking to Allison Schulnik

Question: Tell me about “Long Hair Hobo #2″
A friendly creature looking for a home.

Long Hair Hobo #2, 2009

Los Angeles based artist Allison Schulnik collaborated with Grizzly Bear. The 4 minute and 30 second stop-motion animated piece was meticulously crafted out of clay by the artist, and uses the beloved Hobo Clown character oftentimes seen in her paintings.


Talking to Lynn Lu

Question tell me about “An idealized moment when everything is simple and secure”

(3-hour performance; installation)
“PhD thesis exhibition”; GFAL, Musashino Art University; Tokyo, Japan. 2008

The Tibetian Buddhist nun, Pema Chödrön, once spoke of training ourselves to overcome the fear of the groundlessness of life. Since life is – and will always be – uncertain, Pema suggested that we “stop waiting for some idealized moment when everything is simple and secure”, and instead try to be fully present in each moment.

A man and a woman stand facing each other, on a mound of freshly sprouting grass, with their heads bound together in white gauze. Holding each other in a loose embrace, their hands – behind the other’s back – attempt the impossible task of sightlessly threading a needle with a single strand of cotton. Over time, an unseen quantity of ice wrapped in the gauze melts and drips from their jointly bound heads. Cold water runs continually down their necks, soaking their clothes and trickling down to their bare feet. The soil is nourished and the grass grows.

An idealized moment when everything is simple and secure,  2008


Alicia Ross on Art:21

Alicia Ross on Art:21

Four Questions with Alicia Ross.


Talking to Alicia Ross

Question: Tell me about “Motherboard 5 (The Siren)”

Motherboard 5 (The Siren) is one of my favorite pieces to date. I feel the line between agony and ecstasy is blurred through the figure’s pose and expression. The subtitle The Siren refers to the mythical seductresses (often portrayed with mermaid-like qualities) who would lure sailors to the shore with their melodic singing and physical beauty. The sailors would sail towards the Siren’s song and crash into the rocks to their demise. The Siren’s embodiment of lustful tempt and tragedy seemed to embody the same confusion I saw in the piece.

Motherboard 5 (The Siren), 2008

Motherboard 5 (The Siren), 2008

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