It took me quite awhile to realize that my work has a trend of domesticity that runs through it. It’s hard to find overarching themes, so I am glad to have identified one. At the moment I don’t have any photo’s of the actual drawings I have been making at the kitchen table, but Rob documented me working on them, so that will have to do for now. More to come!
As mentioned in the previously in “Panes”, I am intuitively attracted to the safe interior spaces. I like the outdoors, but I am really really enamored when it crosses boundary of home (light through the window/view to the world outside). It is across from this window with run new records from our housemates-to-be (for now we’re living with their stuff), Skye & Eric that I have been delving into my subconscious thoughts of how things work. The drawings build, grow, follow trains of thought and color. Symbols emerge, but as soon as they seem to be clearly defined, they morph into something else—like dashed lines are stitching, lane dividers and if oriented vertically, they are stacks of plates, air vents or blinds.
It is a comfortable place to draw. No need to dress for the day–the comforts of home at your fingertips.
Eating lemon meringue pie and thinking of Laura Letinsky‘s work. This plate and crumbs might have made an appearance in some of the drawings…
As I acclimate to our new living quarters, I impulsively took some pictures of the morning light shining through the windows. As I was uploading them, I noticed a theme. I have done this often in the places where I live as the below history of images shows. The translucent but impenetrable properties of the glass in a house are so seductive. The panes allow light in, you to look out, protects from weather, vaguely reflects the surroundings. All of my photo’s are from the inside looking out rather than the outside looking in referencing a domestic, safe location from which I am shooting. If the photo’s were taken from the outside, it would likely recall a more voyeuristic tone–less safe, more creepy.
I used to trace the giraffe and elephant on the kid’s menu’s from Bill Knapp’s family restaurant (my family pretty much only went to Bill Knapp’s when we went out as a kid) by putting the paper on the window and drawing through to the other side. It’s difficult to recall if this was part of my thought process when I started taking photo’s of the magazine pages on the window, but I’m pretty sure the first drawing I made in my apartment in the Bronx (summer 2004), with the lamp under a glass table where I traced Jonbenet Ramsey’s face intermingling with some Keebler elves I was thinking about this “practice”.
Speaking of tracing, last night during the Artist in Residence lectures Iris Eichenberg (Metals at Cranbrook) was talking about tracing as re-experiencing the steps you have already taken. I really liked this as I have usually thought about it as copying or plagiarism. Anyway, I’m off topic from the window panes I began writing about. There are images to peer through below.
This is the first image I took of a magazine page on the window in 2007.
I’m back in Detroit, Cranbrook has started up. I’m moved into my new living quarters and my new studio.
There’s as much possibility as the a blank page. Thick.
Trinity is fifty and has an art exhibition to celebrate! Last week I installed “Light Weight” in the new Seerveld Gallery. The space fit the piece really well and electricity was available in inconspicuous ways (thank you!). I will post a new video and photo’s when I go back for the closing.
Several friends and classmates are in the show as well. Sam McCune, Faith Veenstra, Cousin Tim, and many talented designers from Cultivate Studios. It will be fun to see the show fully installed and maybe (hopefully) run into some of these people of my past.
The closing reception for the show is October 3 at 6:30.