Denver's Biennial of the Americas

I've thoroughly enjoyed dipping in and out of events related to Denver's Biennial of the Americas over the last month. I didn't make it to the more heavily promoted Roundtable speaker series, but have focused my attentions on the art happenings around town.

"The Nature of Things" exhibition at the renovated McNichols Building is quite wonderful. Westword's Michael Paglia has written a comprehensive review of the artwork there and elsewhere. I've been to several really good talks as part of the speaker series there too.

 I love the whimsical transformation of the outdoor space by Jeronimo Hagerman (see above). Adding the vegetation to the capitals on the building is intriguing from the exterior but also refreshing and engaging when glimpsed from the windows on the third floor of the exhibition. I just wish the McNichols exhibition and talks had been free throughout the Biennial, rather than just during the last week -- I think they would have been so much better attended and as a result provoked much more consideration and discussion.

Civic Center Park looks fabulous. The gardens are amazing this year with creative plant combinations that compel me to pull out my camera again and again.

My favorite Biennial work is the temporary public piece, "1.26," suspended over the street between the Denver Art Museum and Civic Center Park. Janet Echelman has created a netted aerial work that is vaguely interesting by day but phenomenal when viewed at night. My photos don't do it justice so if you are in the area, try to get down to see it some evening soon. (Or see better photos on the artist's website via link above.) The work was inspired by a simulation of the February 2010 Chilean earthquake and speaks to the "temporality and interconnectedness surrounding the 1.26 microsecond shortening of the day that resulted from the redistribution of the earth's mass." Most of the people looking at it last night seemed to think it looked like a jellyfish or a butterfly, but from certain vantage points it has both ethereal and explosive qualities. Truly wonderful. 

The chaos of collage composition

Took this photo of my current work in progress yesterday. It's hard to tell where the collage begins and all the intriguing bits of paper end. For scale, the wood panel I'm working on is 10 x 10 x 1"... so there are lots of little elements being considered, set aside, ripped further, reconsidered, rearranged, discarded. Everything on the board is already glued down, everything else is just jockeying for position!(Addendum: the finished piece is written up in my blog here.)

Christo's "Over the River" project in Colorado

I had the good fortune to attend a lecture by Christo on Wednesday. He was discussing his proposed "Over the River" project to be sited in Colorado's Arkansas River Valley in 2013, hopefully. His visual record of previous projects and stories were wonderful. A series of collages, hand done, that he has produced to show the effect of the fabric covering portions of the river, were stunning. Sales of these preliminary works completely fund the eventual installation.

The amount of work that is done to research potential site(s), get permits, test materials, assure engineering success, and win environmental and/or community approval is simply amazing.

He talked about his use of fabrics and how we usually can only feel the wind, but once the fabric is incorporated into his projects, we can also see the wind. Another part of his work that he stressed was the importance of scale and the relationship of the viewer to the work, most recently evidenced in photos of The Gates installation in New York City.

I was struck by Christo's incredible tenacity, energy level, and ability to discuss his work in simple terms. It takes years for his projects to come to fruition and then they are so ephemeral. He described his art as "creating gentle disturbances for a few days." I wish I'd written down more of what he'd said!

I came away thinking that it would be great to see the installation from above and perhaps even more interesting to see it from below, on a raft! (A Denver Post article takes a more objective view.)

Art & design, musing no. 1

 

I've been thinking a lot about my efforts to balance emerging art/collage interests with my long-established design practice. There have been times when I felt I could walk away from design and focus completely on collage. Then I have moments, like today, when I'm mulling over how to visually re-position a business and can't imagine not having that interaction and challenge in my life. 

I'll always think like a designer. It informs everything I do. It certainly contributes significantly to who I am as an artist. 

Balance could be wildly over-rated. Heading full-tilt in the direction of what I'm most interested in at the moment may be the best approach. One creative endeavor feeds the other. At this time of hybridization and collaboration, perhaps a renaissance approach suits me best. 

And then there's the overlap. Many of my design clients also collect my artwork, while many of my artist friends ask for design advice. My card says artist/designer. Maybe it should say artist+designer... It's all connected. 

(Photo is a pattern of light through moving tree branches, cast across a wall, just another random but visually intriguing moment in my day!)