“There is a freshness and contemporary pulse to printmaking that is taking the art world by surprise. Here is a technique that is so porous, it can act like a sculpture and inhabit three dimensions; it can mimic a painted mural as it sprawls across a wall.” -Sheila Goloborotko, Curator
Monotype, acrylic on hand-cut paper, conduit, light
Photographed at the Hunterdon Art Museum, located in Clinton, NJ as part of Multiple Ones: Contemporary Perspectives in Printmedia, curated by Sheila Goloborotko.
17 other artists included in the exhibition:
John Hitchcock, Andrew Raftery, Mizin Shin, Florence Gidez, Marilee Salvator, Justin Barfield, Shawn Bitters, Rebecca Gilbert, Jill Parisi, Andrew Kozlowski, Nathan Meltz, Lauren Kussro, Guen Montgomery, Eszter Sziksz, Brandi Grogan, Ruthann Godollei, Swoon
Rising (v.2) was built in such a way as to consider vantage points from all directions.
From behind, the viewer is engulfed in its shadows; eyes follow the form as it evolves from floor-bound blossoms of deep crimson into a white vortex that looms overhead. Plumbing conduit is used to create swirling lines in between the printed components, forming a sculpture that is like a drawing in space.
Read more about the exhibition here.
The Hunterdon Art Museum is housed in an 18th century stone mill on the south branch of the Raritan River. Originally constructed in 1763, the mill is said to have ground the wheat for General George Washington’s revolutionary army during its encampment in Morristown. For the next 200 years, it functioned as a stone mill that passed from one owner to another.
By 1953, the mill was dismantled and efforts to convert the building into an art center were well underway. Currently, the museum continues to expand its educational mission by offering over 300 workshops annually for adults and children, as well as bringing nationally and locally significant artists to the attention of its visitors.
The installation of Rising (v.2) at the HAM had challenges that were directly related to the building’s unique construction. The floors incline at an angle from the center of the building toward the outer edges, as was typical for stone mills as a way of keeping the grain moving toward the middle where it could more easily be consolidated. The floor being uneven posed a welcome challenge for setting up the support grid and considering perspective from the front and back of the installation.
Another distinct aspect of the space—the solid wooden floors and ceiling—as well as the historic preservation of the building preventing use of the walls for anchor points, posed another significant difficulty in installing the monofilament grid. Subtle aspects of the piece nod to the building’s construction and history: paper penetrating a large crack in one of the wooden beams, conduit moving up into the ceiling gaps, and lights casting a red glow over the installation that appears to be coming from the exit sign hanging overhead.
To read more about the museum’s history, visit this link.