Showing posts with label Suzy Greenberg. Show all posts
Showing posts with label Suzy Greenberg. Show all posts

Tuesday, January 4, 2011

Alison Hiltner - Mixed Media

The Colony (detail), 2009. Mixed Media: Hot glue, Rubber bands, LED lights, PVC Pipe, Artificial Terrain, Balloons and Garden Hose. 72" h x 144" w x 164" l full installation.

Alison Hiltner
Website: http://www.mnartists.org/alison_hiltner

Bio~
Alison Hiltner lives and works in Minneapolis. Her credits include solo exhibitions at Spike Gallery in New York, the International Museum of Surgical Sciences, Heineman Myers Contemporary Art and Soo Visual Arts Center in Minneapolis. Alison was an artist in residence at Sculpture Space and received a Minnesota State Arts Board artist initiative grant in 2007; she has also been a finalist for the Jerome and McKnight Foundation Fellowships.


Tell me about your work? What are you currently working on? How is this different from past projects?

Frequently I feel that my work is a series of what ifs…such as what if I take these random mundane materials like hot glue, garden hose, wire twine and transform them into something that appears organic, elements of rudimentary life. This also gives me the opportunity to magnify unique structures rarely scene, the strange architectural that is beneath our skin is a frequently revisited source of inspiration. I utilize a knowing naiveté, if that makes any sense, trying to maintain a sense of wonder in what I see and how I convey my ideas, with a sense of humor or a touch of the absurd always hovering around the surface.

In the spirit of my own personal mad science I have recently been attempting to combine my older work, mostly consisting of questionable medical objects, with the idea of creating artificial life. I can honestly say that nature creates sculptures far more breathtaking than I could ever hope to replicate but it hasn’t stop me from trying. I included a detail from a new piece I am working on titled, Extraction. This is the first piece that I have reintroduced an element of the machine into; however it is an experiment on many levels. I see it as a continuation of the piece Neuromorphic Behaviors that was installed in the Soap Factory’s Basement for HBX. Extraction, plays off of the idea that a sample was taken from the created environment in Neuromorphic Behaviors, then contained and cultivated for study. Using a past piece as an origin story in an alternate natural history and allowing the work to build on its concept with each incarnation is a fascinating idea to me that I will continue to pursue.

Neuromorphic Behaviors (Left View), 2010. Twine Wire, Wax Tape, UV Reactive Paint, Black Lights. 108" h x 153" w x 164" l.

Extraction (work in progress), 2011. Stainless Steel, Straws, Mesh, Sound Reactive El Wire and Enamel nail polish.

What was the best advice given to you as an artist?

Taking a chance and having it end in disaster is always better than playing it safe…which is fairly easy advice to follow especially since not taking chances with your work can also end in disaster.

The Colony (detail), 2009. Mixed Media: Hot glue, Rubber bands, LED lights, PVC Pipe, Artificial Terrain, Balloons and Garden Hose. 72" h x 144" w x 164" l full installation.

Tell me about your working space and your creative process?

I recently moved to a new studio space, one that is a bit unusual. It is a basement space that could easily be used as a stand in to film some scenes in a 1950s era mental hospital. The personality of the space is growing on me though and I am using one of the bedrooms as an installation room.

My process includes a lot of searching for the right ingredients; it starts with a concept or form that I want to investigate then I start poking and prodding it to see what reveals itself. I find the most inspiration in things that closely resemble science fiction but are firmly based in the real world. One of my favorite quotations is from Kurt Vonnegut: “Science is magic that works.” In many ways that is a guide to what I am drawn to exploring with my work, capturing elements of reality that could easily be considered fantasy.

Mimicry, 2009. Mixed Media: Artificial Flowers, Wax, Clay, Wire, Hamster Runabouts and a variety of other things found and made. 120" h x 64" w x 70" l.

Which Minnesota artists do you enjoy?

I could probably fill up two pages of links to artists I enjoy who work in Minnesota, several of whom have already been interviewed on this site or mentioned, Joe Sinness and all the artists he mentioned are fantastic, along with Lindsy Halleckson, Liz Miller and Amy Rice. I do need to give a special shout out to my partner Will Lager, who is an artist and collaborator I very much enjoy!

Upcoming Shows I am Looking forward to (as of 1/2011):

The next two exhibitions / 2-person shows at MAEP: (Peter Happel Christian and Margaret Wall-Romana / Paula McCartney and Liz Miller).

Suspension of This Belief at Soo Visual Arts Center by Karl Unnasch .

The Art of the Self-Portrait and Hennes Art Gallery (a piece by a Suzy Greenberg is my main interest in this).

Andy Ducett at the Soap Factory in 2012.

These are two amazing local artists that haven’t been mentioned on the site yet that I frequently look to for art making advice:

Pamela Valfer: http://pamelavalfer.com/home.html
Aaron Dysart: http://www.aarondysart.com/

And lastly this is a piece I wish I thought of first:
Ruben Nusz: http://www.rubennusz.com/Art/images/Pages/roaches.html#0

There really is way too much talent locally to include all the deserving artists!

If I were to follow you around on an “art day” in Minnesota, which places would we go? What would we see?

I think my perfect “art day” would have to include finally going to the Marjorie McNeely Conservatory. I can’t quite believe that I have never seen the Bonsai Gallery there, so that would be my top priority.

Where do you go online for good art resources, whether to find a new artist, or to see what is going on in the art world locally and otherwise?

I always find something interesting on BoingBoing.

Recently I was introduced to some sites that post artwork I am really into;
http://www.todayandtomorrow.net/
http://www.booooooom.com/
http://eyeteeth.blogspot.com/
http://spacecollective.org/
http://butdoesitfloat.com/

Do you have any exhibits or any interesting things going on in your life or coming up in the near future? (2011)

I am working on a new piece for a group exhibition, Physiotasmagorical, at Evanston Art Center , which will open on February 20, 2011.

If you were to receive a $2,000 art grant to do anything you want, what would you do?

Buy a prefab greenhouse…I have some schemes revolving around this idea of a portable laboratory.

Mimicry (Detail), 2009. Mixed Media: Artificial Flowers, Wax, Clay, Wire, Hamster Runabouts and a variety of other things found and made. Each form varies appro. 5.75" h x 5.75" w x 12"l.


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Monday, September 27, 2010

Lindsy Halleckson



lindsy@dangerpro.com
http://www.dangerpro.com/

Bio~
As an emerging artist, I have consigned paintings at various galleries in the Twin Cities, Seattle, and Philadelphia, and have shown my work in exhibitions in Minnesota, Iowa, New York, and Washington State. Also, as an advocate for the arts, I have worked in fundraising and membership for the Walker Art Center, Minneapolis Institute of Arts, and Ordway Center.
Although my painting has been largely abstract, I am moving towards creating work that poses a more direct statement. My recent work is based on camouflage as a symbol of our struggle for survival in a time of personal economic uncertainty, cultural shift, and political transformation. Camouflage not only equates to function, adaptation, and evolution but depicts survival in my art, life, and culture as well.
The progression of my work draws on my increasing desire to live an environmentally sustainable life and become intimately and consciously involved in nature. I now strive to create works that explicitly convey environmental commentary.
What interests me most is creating objects that are visually beautiful but have a slight hint of something crude or disturbing. I aim to create this discomfort as an invitation to action.


Your paintings are typically created as part of a series. I am familiar with your Clash Series, and, more recently, your Camouflage Series. Tell me about the origins of these projects.

• My series always have some form of meditation on science. In my Clash Series, I wanted to represent tones of music with color. More specifically, I wanted to represent the dissonance in clashing notes with vibrating edges of clashing colors. When two colors that are slightly off-complimentary are paired together, their edges seem to vibrate. After I painted with this idea for a while, the paintings seemed to turn into color studies. I am completely obsessed with color, so I painted hundreds of small 6” paintings with this Clash theme and other themes started to emerge.


• The Camouflage Series came when I got somewhat color saturated with the Clash Series and wanted something new. My mom had given me these chunks of cedar paneling that had been taken out of someone’s closet. I decided to try out epoxy resin and see if I could layer paint and create some sort of shiny effect that incorporated the wood grain. After a couple trials, the painting started to look like military camouflage, so I researched the history of how artists developed military camouflage, made contacts with some professors and researchers who study natural camouflage and evolution, looked at different styles of camouflage around the world, and began to think of camouflage as a symbol for survival.

Do you find working in a series to be liberating or confining?

• Sometimes I feel like I don’t stick to a series enough, but for me, working in these series has helped me develop specific skills and a critical eye. It’s funny- now I feel like I’m really good at dragging a knife across a surface, making an interesting mark, and pairing evocative colors. Working in a series enables you to truly explore an idea and live in it for a while.

• At the same time, I really want to try everything. I have a ton of ideas that I’d love to work on simultaneously, but I know that I should focus on just a few ideas at a time. I’m terrible at finishing projects and great at starting them, so I really need to focus on seeing things through. I try to keep a notebook of ideas and sketches of things I want to work on when I have more time.

I hear that you have started working with sculpture and installation. Why?

• Over the past year or two I’ve been seriously focusing on getting back to being creative and having fun. During the economic meltdown, I was so focused on making work that people would want to buy that I forgot to really focus on and enjoy the work. I felt I had turned into a factory and need to get back in touch with what I want to say as an artist. I’ve been working with epoxy resin, and I realized one day that stuff can be molded into 3-D! It’s obvious, right? But I hadn’t thought that I should make things in 3-D. So, I went on a 3-day artist retreat and planned nothing else but to create a sculptural or installation piece with the resin. There is something more disarming and engaging about installation that cannot be expressed in painting.

What was the best advice given to you as an artist?

• Being creative takes a lot of discipline and hard work, but the hard work should also include some fun.


You have a studio/gallery in the Northrup King Building in the NE Mpls Arts district. How has working in an artist community affected your life as an artist?

• Being a part of the NKB has pushed me to keep making art; there’s always an upcoming deadline. And, being the procrastinator that I am, I need those regular deadlines to get work done.



How does being Minnesota-based influence your art?

• There are infinite reasons to love Minnesota and getting to be an artist in Minnesota, but I love our ability to be connected to a city with extremely talented people but also have remote wilderness within a couple-hour drive. I love to be in the woods, and nature has become extremely important to my life and art. For me, the balance here is ideal. I believe that as I spend more time in nature (I haven’t always), my art becomes more environmentally focused. This is undoubtedly a theme that will be part of my work for the foreseeable future of my career.



Which Minnesota artists do you enjoy?
David Good
Kris Musto
Carl Swanson
Amy Rice


Do you have any exhibits or any interesting things going on in your life or coming up in the near future?

• October 1st Thursdays (10/7/10 6-9pm) and Art Attack www.NorthrupKingBuilding.com
• I’m excited to be embarking on my first artist residency at New York Mills Cultural Center this November. www.kulcher.org
• Check out the Women’s Art Registry of Minnesota – http://www.blogger.com/www.thewarm.org

Links to Artists and Resources:
Lindsy Halleckson (Web) (FB)
David Good (Web) (FB)
Suzy Greenberg (Web) (FB)
Alison Hiltner (Web) (FB)
Angela Sprunger (Web) (FB)
Kris Musto (Web) (FB)
Elizabeth Erickson (Web) (FB)
Carl Swanson (Web) (FB)
Jeff Warner (Web) (FB)
Steven Lang (Web) (FB)
Joel Starkey (Web) (FB)
Stephen Capiz (Web) (FB)
Allen Brewer (Web) (FB)
Heidi Hafermann (Web) (FB)
Amy Rice (Web) (FB)

12/2012/L10