So, I’ve finally had a moment to sit down and get this post up since returning from D.C. I had a great time in Washington, Honfleur was a wonderful gallery to work with, and the people from ARCH (a nonprofit, and Honflers parent company) were so helpful and friendly. I also kindof fell in love with the neighborhood of Anacostia, which is a historic neighborhood south of the river in D.C. Although Anacostia has a little bit of a bad reputation, as far as I can tell, it’s unwarranted. There is a wonderful arts and revitalization movement going on in the area, and it really shows… it doesn’t have a static feel at all, but you can actually feel Anacostia buzz and hum with energy and forward movement.
I’ve included images below of the final installation, which I’m really happy with. Briony Evans, the creative director and Honfleur, and Beth Ferraro, the creative director for the Gallery at Vivid Solutions, were phenomenal and the show wouldn’t have been quite as successful with out their help.
Installation view, right of gallery
Installation view, left of gallery
Robert Longyear: Neckpiece installation view
Jeanne Jo: If A Mouth Were To Whisper… and accompanying photo
Colleen Heineman: Sorted Conglomerates
Andrea Miller: Peripheral System #4 and accompanying photo
The Washington DC based arts and culture blog, Brightest Young Things, has included an article on their website about Objectified. Their writers came to Honfleur Gallery this week for a preview of the show, and to do a behind the scenes interview about the objective of the exhibition.
I think that it was a challenging exhibition to write a synopsis about on the fly, and I think that BYT ended up writing a pretty good article, although I wish that it discussed the artists concepts a little more precisely. I’m just glad that they took the time to come to the gallery to check out the show.
You can read the article here.
Colleen Heineman is part scientist. She investigates, analyzes, sorts, charts, decodes, and reconstitutes information into art objects that reflect her concepts and processes. I’m really drawn to Colleens’ artistic process, her methods of investigating and understanding her materials lead to a creative relationship where the artist acts as a catalyst, initiating the metamorphosis of her concepts. The results after the transformation: totem like sculptures that pay homage to an in-depth system of documentation and visual exploration.
The alchemy of Colleens’ scientific approach has yielded and increadible group of copper sculptures, Sorted Conglomerates. This body of work articulates observations on consumer culture, identity, and personal clutter. This set of work is really phenomenal, and I am particularly interested in the ideas of artist as facilitator, catalyst, and composer that are referenced in these works. These pieces also visually reference natural land formations and tectonic masses.
I appreciate Colleens’ meticulous way of working, and how she has committed herself to creating physical mementos that reflect her concepts. The Sorted Conglomerates will also be on display with an accompanying set of schematic drawings which reference the arduous process the Colleen undertakes in her making process.
As an aside, how amazing to these copper pieces look!?! The craftsmanship is amazing!
Andrea Miller has just completed her Masters program at University of Wisconsin, Madison with a degree in Art Metals. Her most recent body of work, Peripheral Systems, Parts 1-5, is a series of necklaces that compare elements of our constructed environment with the human body.
Her wearable sculptures reference commonplace elements of our environment: spigot handles, duct work, or HVAC piping. All of these industrial elements are objects which we have become de-sensitized to; allowing them to infiltrate our modern existence with our dependency upon them.
These elements which Andrea focuses on were originally purposed for function and practicality. Despite their utilitarian origins, Andrea has managed to find beauty and pleasure in exploring her source materials, and I am glad to have her work included in Objectified. Her pieces are miniature replicas of the most unromantic industrial components, talismans honoring the unacknowledged architectural elements that we utilize every single day. I especially appreciate Andreas decision to move these sculptures onto the body, it seems to help translate the original source materials into the realm of the domestic more easily, and also provides and unexpected pedestal for the work.
It’s no secret that I’ve had an art-crush on Robert Longyear’s work for quite a while now. And maybe the theme for Objectified was a little of an excuse to have an opportunity to see his work in real life, who knows. Regardless of my motivations, I am excited to have him participating in Objectified, his work will definitely add unique perspective to the dialogue of the show.
His pieces are conglomerations of disenfranchised objects, using neglected structures as his source materials. In this way, he is able to reveal the hidden construction of deteriorating buildings, provide the viewer with a new method of perceiving space, and creates metaphors for the human condition.
The conglomerate objects made of industrial detritus are steeped in concepts of lapsed history, time, neglect, and fate. They also seem to become bodily, referencing lace-like internal organs; making the viewers relationship to them that much more intimate.
This past week I had the opportunity to see a newly finished piece by Jeanne Jo, one of the very talented artists participating in the show that I’m curating, Objectified. I have always been a fan of Jeanne Jo’s work, but the piece that she created for Objectified is truly phenomenal. She had just finished it the morning that she delivered it to me, and it’s pretty astounding.
Her piece, If a Mouth were to Whisper, is the opening phrase from a treasured love letter that was sent to her by someone who has since passed away. Jeannie transcribed the text from the letter into an alpha-numerically crocheting pattern. The result is a textile piece whose subtle patterns are a direct result of the transcription. The delicate holes that pattern the piece reference both piano paper from player pianos and an aged memento of moth eaten lace.
I am excited to have If a Mouth were to Whisper in the show; the intimate quality of this craft-rooted piece will compliment the metal work in the show. The image to the right is documentation of the piece, which is easily over 100 feet long and took approximately 50 hours to complete. This piece just exudes feelings of memory, comfort, vulnerability, and attentiveness. I really appreciate the pliability of the work, and how it both interacts with the body in a loving/cocoon like manner and simultaneously drags behind with excess physical and conceptual weight.