Josh Faught Weaves Queer History and Pop Culture into Monumental Cozies
Bay Area Sculpture Right Now: Sahar Khoury Revels in Rupture
Bay Area Sculpture Right Now: Alyssa Lempesis Wants to Gross You Out
Bay Area Sculpture Right Now: Border Crossing With Sita Kuratomi Bhaumik
Bay Area Sculpture Right Now: Nicki Green's Talismans of Queer Subtlety
Bay Area Sculpture Right Now: Welcome to Joey Enos Land
Bay Area Painting Right Now: Sofie Ramos Is Never Quite Finished
Bay Area Painting Right Now: Sam Spano's Blissful Interiors
Bay Area Painting Right Now: Maysha Mohamedi's Aerobic Abstractions
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additional works for a three-person show opening May 25 at San Francisco’s \u003ca href=\"http://jessicasilvermangallery.com/fused/\" target=\"_blank\" rel=\"noopener noreferrer\">fused\u003c/a>; and countless scraps of fabric and plans for future weavings.\u003c/p>\n\u003cp>“This is such a strange time in my studio,” he says, explaining how, until recently, the space was entirely consumed by one gigantic project — \u003ci>\u003ca href=\"http://www.e-flux.com/announcements/91894/josh-faughtsanctuary/\" target=\"_blank\" rel=\"noopener noreferrer\">Sanctuary\u003c/a>\u003c/i>, a 45-foot tall hand-woven work for Seattle’s Saint Mark’s Episcopal Cathedral.\u003c/p>\n\u003cfigure id=\"attachment_13281425\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281425\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200.jpg\" alt=\"Inside Faught's South San Francisco studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inside Faught’s South San Francisco studio. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It took up every piece of square footage I had,” Faught says. He spent a year and a half working on the piece (which is actually “50 feet with the fringe,” he clarifies) before it was installed at the end of January, 2017. Prior to \u003ci>Sanctuary\u003c/i>, Faught’s largest textile work was the result of another commission — as a \u003ca href=\"https://www.sfmoma.org/exhibition/2012-seca-art-award/\" target=\"_blank\" rel=\"noopener noreferrer\">2012 SECA awardee\u003c/a> during SFMOMA’s years of building expansion. But \u003ci>\u003ca href=\"https://www.sfmoma.org/watch/fake-snacks-and-jack-o-lanterns-josh-faught-takes-us-to-the-neptune-society-columbarium/\" target=\"_blank\" rel=\"noopener noreferrer\">BE BOLD For What You Stand For, BE CAREFUL For What You Fall For\u003c/a>\u003c/i>, a site-specific piece installed in the atrium of San Francisco’s Neptune Society Columbarium, was only 20 feet tall.\u003c/p>\n\u003cp>\u003ci>Sanctuary\u003c/i>, which will remain on view in the cathedral for 18 months, contains all the hallmarks of a Josh Faught textile work: hand-dyed cotton, gold lamé, pop culture references, pockets filled with loose objects and references to queer communities of the past.\u003c/p>\n\u003cfigure id=\"attachment_13281423\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200.jpg\" alt=\"Detail from an in-progress piece; Faught in his South San Francisco.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Detail from an in-progress piece; Faught in his South San Francisco. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lyrics from Belinda Carlisle’s 1987 album \u003ci>Heaven on Earth\u003c/i> run down the right side of the piece, which shifts from red hues to blue ones as the tracks flip from side A to side B. Along the left side, 36 DVDs peek out of woven pockets. “At the end of the day,” Faught says, “that piece is one big DVD cozie for a soap opera called \u003ci>Passions\u003c/i> that I would skip school to watch.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted to do this thing where every year I watch a season [of \u003ci>Passions\u003c/i>] and make something to house the season,” he explains. \u003ci>Passions\u003c/i>, a claustrophobic show known for its Christian undertones and extreme time dilation, played every weekday beginning in 1999; that’s 260 episodes in the first season alone.\u003c/p>\n\u003cfigure id=\"attachment_13281428\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281428\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200.jpg\" alt=\"Scenes in Faught's studio.\" width=\"1200\" height=\"905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-800x603.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-768x579.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-1020x769.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-1180x890.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-960x724.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-375x283.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-520x392.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Scenes in Faught’s studio. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bridging \u003ci>Passions\u003c/i> and \u003ci>Heaven on Earth\u003c/i> is a matrix of ephemera from Seattle queer history, the nexus, in Faught’s mind, of those cultural touchstones. “I don’t think anybody would consider \u003ci>Passions\u003c/i> to be a really politicized series,” he says, “but when it’s put adjacent to these archives of this gay club in Seattle that went out of business because the owner was basically running a drug and sex den, yet it was one of the few places that young queer people could come together and experience a sense of community, \u003ci>Passions\u003c/i> automatically gets politicized.”\u003c/p>\n\u003cfigure id=\"attachment_13281427\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281427\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200.jpg\" alt=\"Hand-dyed yarn woven on Faught's 8-shaft floor loom; Faught demonstrating the loom's foot pedals.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hand-dyed yarn woven on Faught’s 8-shaft floor loom; Faught demonstrating the loom’s foot pedals. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sifting through the printed material left behind by queer communities of the past — either in archives like San Francisco’s \u003ca href=\"http://www.glbthistory.org/archives/\" target=\"_blank\" rel=\"noopener noreferrer\">GLBT Historical Society\u003c/a>, or informal settings like the incredibly fruitful thrift stores of Palm Springs — is an integral part of Faught’s practice. In the studio, he shows us a zine he recreated from an original issue of \u003ci>Hobby Directory\u003c/i>, an international index of “who’s who in hobbies.” For subscribers of the 1940s and 50s, men seeking to connect with other men used hobbies as a coded language of personal ads.\u003c/p>\n\u003cfigure id=\"attachment_13281426\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281426\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200.jpg\" alt=\"Faught with his recreated 'Hobby Lobby'; the 1982 'Gay Areas' directory, found in a Vallejo thrift store.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Faught with his recreated ‘Hobby Lobby’; the 1982 ‘Gay Areas’ directory, found in a Vallejo thrift store. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Interested in photography, color, of birds, travel and historical places. Also in health, diet and reading. Seeks several congenial correspondents, any age,” Faught reads. “It’s just these strange euphemisms: Hairdresser and artist. Interior decorating. Oil painting.”\u003c/p>\n\u003cp>He revels in the linguistic strangeness of these archival documents. For \u003ci>Between a Rock and a Hard Place\u003c/i>, part of the fused show \u003ci>Curious and Curiouser\u003c/i>, the left half of the diptych features words found in the top corners of a 1982 edition of \u003ci>Gay Areas\u003c/i>, “the world’s first gay telephone directory.”\u003c/p>\n\u003cfigure id=\"attachment_13281422\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281422\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200.jpg\" alt=\"Faught's 24-shaft floor loom; one half of the diptych 'Between a Rock and a Hard Place,' 2017.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Faught’s 24-shaft floor loom; one half of the diptych ‘Between a Rock and a Hard Place,’ 2017. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of the alphabetical pairings are absurd, others heartbreaking. “Alcohol Treatment Centers — Bars” is followed by “Moms — Renaissance.” Like the \u003ci>Hobby Directory\u003c/i>, \u003ci>Gay Areas\u003c/i> was a directory meant for a specific community — a printed support network. A text banner draping from the top left corner of the piece spells out “CONCESSIONS” in a circus-y font. \u003c/p>\n\u003cp>It could be a sign for a hot dog stand, or a reference to the compromises certain members of society once made and continue to make when it comes to living openly versus living safely. As Faught says, “The construction of identity is full of holes. It’s full of a lot of inconsistencies. And it’s full of a lot of competing impulses.”\u003c/p>\n\u003cp>The right half of the diptych is a Jacquard-woven rendition of a red brick wall, balancing the hours of labor that went into hand-weaving and piecing together of the horizontal strips of text on the left.\u003c/p>\n\u003cfigure id=\"attachment_13281429\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281429\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic.jpg\" alt=\"Just a small fraction of Faught's 'Titanic' collection; '10-Minute Clutter Control' in a pocket.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Just a small fraction of Faught’s ‘Titanic’ collection; ’10-Minute Clutter Control’ in a pocket. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This material mixture of high and low (Faught describes Jacquard weaving as “a really cheesy process”) appears again and again. He hand-dyes his yarns and usually keeps an indigo vat going in the studio, but he also revels in found, extremely kitschy objects. In one of the woven pockets of another work titled \u003cem>I Forget Where I am While I am at Where I am Going\u003c/em>, also part of the fused show, is a copy of \u003ci>10-Minute Clutter Control\u003c/i>, the type of book you’d likely find in an office free pile. Pinned above it is a button that in all probability once belonged to an employee of TGI Fridays.\u003c/p>\n\u003cp>Similarly, his works include references that range from explicitly political messages to more coded — or as Faught would say, coy — affirmations of identity. “I’m really interested right now in that space between politics and activism,” he says. “We need a lot of activism, we need a lot of direct action protest, but I don’t see art always as the thing to do that.”\u003c/p>\n\u003cp>“It can, for sure. But I see my job and my mission as more about finding the places where politics and activism don’t so neatly match up.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>See more of Josh Faught’s work in a three-person show with Julie Béna and Courtney Johnson, ‘Curious and Curiouser,’ opening Thursday, May 25 at San Francisco’s fused (1401 16th Street). For more information, \u003ca href=\"http://jessicasilvermangallery.com/fused/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n","blocks":[],"excerpt":"The artist weaves references to Belinda Carlisle, pockets filled with loose objects and ephemera from queer communities of the past into his large-scale textile pieces. ","status":"publish","parent":0,"modified":1705030586,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1277},"headData":{"title":"Josh Faught Weaves Queer History and Pop Culture into Monumental Cozies | KQED","description":"The artist weaves references to Belinda Carlisle, pockets filled with loose objects and ephemera from queer communities of the past into his large-scale textile pieces. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Josh Faught Weaves Queer History and Pop Culture into Monumental Cozies","datePublished":"2017-05-22T19:00:52.000Z","dateModified":"2024-01-12T03:36:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13279959/bay-area-sculpture-right-now-josh-faught-weaves-monumental-cozies","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In South San Francisco, Josh Faught’s studio is filled with multiple in-progress pieces: a diptych bound for \u003ci>\u003ca href=\"http://mocad.wpengine.com/99cents/\" target=\"_blank\" rel=\"noopener noreferrer\">99 Cents or Less\u003c/a>\u003c/i> at the Museum of Contemporary Art Detroit; additional works for a three-person show opening May 25 at San Francisco’s \u003ca href=\"http://jessicasilvermangallery.com/fused/\" target=\"_blank\" rel=\"noopener noreferrer\">fused\u003c/a>; and countless scraps of fabric and plans for future weavings.\u003c/p>\n\u003cp>“This is such a strange time in my studio,” he says, explaining how, until recently, the space was entirely consumed by one gigantic project — \u003ci>\u003ca href=\"http://www.e-flux.com/announcements/91894/josh-faughtsanctuary/\" target=\"_blank\" rel=\"noopener noreferrer\">Sanctuary\u003c/a>\u003c/i>, a 45-foot tall hand-woven work for Seattle’s Saint Mark’s Episcopal Cathedral.\u003c/p>\n\u003cfigure id=\"attachment_13281425\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281425\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200.jpg\" alt=\"Inside Faught's South San Francisco studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_15_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inside Faught’s South San Francisco studio. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It took up every piece of square footage I had,” Faught says. He spent a year and a half working on the piece (which is actually “50 feet with the fringe,” he clarifies) before it was installed at the end of January, 2017. Prior to \u003ci>Sanctuary\u003c/i>, Faught’s largest textile work was the result of another commission — as a \u003ca href=\"https://www.sfmoma.org/exhibition/2012-seca-art-award/\" target=\"_blank\" rel=\"noopener noreferrer\">2012 SECA awardee\u003c/a> during SFMOMA’s years of building expansion. But \u003ci>\u003ca href=\"https://www.sfmoma.org/watch/fake-snacks-and-jack-o-lanterns-josh-faught-takes-us-to-the-neptune-society-columbarium/\" target=\"_blank\" rel=\"noopener noreferrer\">BE BOLD For What You Stand For, BE CAREFUL For What You Fall For\u003c/a>\u003c/i>, a site-specific piece installed in the atrium of San Francisco’s Neptune Society Columbarium, was only 20 feet tall.\u003c/p>\n\u003cp>\u003ci>Sanctuary\u003c/i>, which will remain on view in the cathedral for 18 months, contains all the hallmarks of a Josh Faught textile work: hand-dyed cotton, gold lamé, pop culture references, pockets filled with loose objects and references to queer communities of the past.\u003c/p>\n\u003cfigure id=\"attachment_13281423\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200.jpg\" alt=\"Detail from an in-progress piece; Faught in his South San Francisco.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_12_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Detail from an in-progress piece; Faught in his South San Francisco. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lyrics from Belinda Carlisle’s 1987 album \u003ci>Heaven on Earth\u003c/i> run down the right side of the piece, which shifts from red hues to blue ones as the tracks flip from side A to side B. Along the left side, 36 DVDs peek out of woven pockets. “At the end of the day,” Faught says, “that piece is one big DVD cozie for a soap opera called \u003ci>Passions\u003c/i> that I would skip school to watch.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted to do this thing where every year I watch a season [of \u003ci>Passions\u003c/i>] and make something to house the season,” he explains. \u003ci>Passions\u003c/i>, a claustrophobic show known for its Christian undertones and extreme time dilation, played every weekday beginning in 1999; that’s 260 episodes in the first season alone.\u003c/p>\n\u003cfigure id=\"attachment_13281428\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281428\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200.jpg\" alt=\"Scenes in Faught's studio.\" width=\"1200\" height=\"905\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-800x603.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-768x579.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-1020x769.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-1180x890.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-960x724.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-375x283.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_23_1200-520x392.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Scenes in Faught’s studio. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bridging \u003ci>Passions\u003c/i> and \u003ci>Heaven on Earth\u003c/i> is a matrix of ephemera from Seattle queer history, the nexus, in Faught’s mind, of those cultural touchstones. “I don’t think anybody would consider \u003ci>Passions\u003c/i> to be a really politicized series,” he says, “but when it’s put adjacent to these archives of this gay club in Seattle that went out of business because the owner was basically running a drug and sex den, yet it was one of the few places that young queer people could come together and experience a sense of community, \u003ci>Passions\u003c/i> automatically gets politicized.”\u003c/p>\n\u003cfigure id=\"attachment_13281427\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281427\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200.jpg\" alt=\"Hand-dyed yarn woven on Faught's 8-shaft floor loom; Faught demonstrating the loom's foot pedals.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_22_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hand-dyed yarn woven on Faught’s 8-shaft floor loom; Faught demonstrating the loom’s foot pedals. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sifting through the printed material left behind by queer communities of the past — either in archives like San Francisco’s \u003ca href=\"http://www.glbthistory.org/archives/\" target=\"_blank\" rel=\"noopener noreferrer\">GLBT Historical Society\u003c/a>, or informal settings like the incredibly fruitful thrift stores of Palm Springs — is an integral part of Faught’s practice. In the studio, he shows us a zine he recreated from an original issue of \u003ci>Hobby Directory\u003c/i>, an international index of “who’s who in hobbies.” For subscribers of the 1940s and 50s, men seeking to connect with other men used hobbies as a coded language of personal ads.\u003c/p>\n\u003cfigure id=\"attachment_13281426\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281426\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200.jpg\" alt=\"Faught with his recreated 'Hobby Lobby'; the 1982 'Gay Areas' directory, found in a Vallejo thrift store.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_21_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Faught with his recreated ‘Hobby Lobby’; the 1982 ‘Gay Areas’ directory, found in a Vallejo thrift store. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Interested in photography, color, of birds, travel and historical places. Also in health, diet and reading. Seeks several congenial correspondents, any age,” Faught reads. “It’s just these strange euphemisms: Hairdresser and artist. Interior decorating. Oil painting.”\u003c/p>\n\u003cp>He revels in the linguistic strangeness of these archival documents. For \u003ci>Between a Rock and a Hard Place\u003c/i>, part of the fused show \u003ci>Curious and Curiouser\u003c/i>, the left half of the diptych features words found in the top corners of a 1982 edition of \u003ci>Gay Areas\u003c/i>, “the world’s first gay telephone directory.”\u003c/p>\n\u003cfigure id=\"attachment_13281422\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281422\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200.jpg\" alt=\"Faught's 24-shaft floor loom; one half of the diptych 'Between a Rock and a Hard Place,' 2017.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_2_1200-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Faught’s 24-shaft floor loom; one half of the diptych ‘Between a Rock and a Hard Place,’ 2017. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of the alphabetical pairings are absurd, others heartbreaking. “Alcohol Treatment Centers — Bars” is followed by “Moms — Renaissance.” Like the \u003ci>Hobby Directory\u003c/i>, \u003ci>Gay Areas\u003c/i> was a directory meant for a specific community — a printed support network. A text banner draping from the top left corner of the piece spells out “CONCESSIONS” in a circus-y font. \u003c/p>\n\u003cp>It could be a sign for a hot dog stand, or a reference to the compromises certain members of society once made and continue to make when it comes to living openly versus living safely. As Faught says, “The construction of identity is full of holes. It’s full of a lot of inconsistencies. And it’s full of a lot of competing impulses.”\u003c/p>\n\u003cp>The right half of the diptych is a Jacquard-woven rendition of a red brick wall, balancing the hours of labor that went into hand-weaving and piecing together of the horizontal strips of text on the left.\u003c/p>\n\u003cfigure id=\"attachment_13281429\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13281429\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic.jpg\" alt=\"Just a small fraction of Faught's 'Titanic' collection; '10-Minute Clutter Control' in a pocket.\" width=\"1200\" height=\"893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KQED_Josh_Faught_Titanic-520x387.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Just a small fraction of Faught’s ‘Titanic’ collection; ’10-Minute Clutter Control’ in a pocket. \u003ccite>(Photo by Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This material mixture of high and low (Faught describes Jacquard weaving as “a really cheesy process”) appears again and again. He hand-dyes his yarns and usually keeps an indigo vat going in the studio, but he also revels in found, extremely kitschy objects. In one of the woven pockets of another work titled \u003cem>I Forget Where I am While I am at Where I am Going\u003c/em>, also part of the fused show, is a copy of \u003ci>10-Minute Clutter Control\u003c/i>, the type of book you’d likely find in an office free pile. Pinned above it is a button that in all probability once belonged to an employee of TGI Fridays.\u003c/p>\n\u003cp>Similarly, his works include references that range from explicitly political messages to more coded — or as Faught would say, coy — affirmations of identity. “I’m really interested right now in that space between politics and activism,” he says. “We need a lot of activism, we need a lot of direct action protest, but I don’t see art always as the thing to do that.”\u003c/p>\n\u003cp>“It can, for sure. But I see my job and my mission as more about finding the places where politics and activism don’t so neatly match up.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>See more of Josh Faught’s work in a three-person show with Julie Béna and Courtney Johnson, ‘Curious and Curiouser,’ opening Thursday, May 25 at San Francisco’s fused (1401 16th Street). For more information, \u003ca href=\"http://jessicasilvermangallery.com/fused/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13279959/bay-area-sculpture-right-now-josh-faught-weaves-monumental-cozies","authors":["61"],"series":["arts_1449"],"categories":["arts_70"],"tags":["arts_1119","arts_1118","arts_596","arts_901"],"featImg":"arts_13281419","label":"arts_1449"},"arts_12772088":{"type":"posts","id":"arts_12772088","meta":{"index":"posts_1591205157","site":"arts","id":"12772088","score":null,"sort":[1487277056000]},"guestAuthors":[],"slug":"bay-area-sculpture-right-now-sahar-khoury-balances-hard-and-soft","title":"Bay Area Sculpture Right Now: Sahar Khoury Revels in Rupture","publishDate":1487277056,"format":"image","headTitle":"Bay Area Sculpture Right Now: Sahar Khoury Revels in Rupture | KQED","labelTerm":{"term":1449,"site":"arts"},"content":"\u003cp>Behind \u003ca href=\"http://www.sahar-khoury.com/\" target=\"_blank\" rel=\"noopener\">Sahar Khoury\u003c/a>’s Oakland home, her studio is filled with works in progress for the sculptor’s upcoming solo show at the Luggage Store Gallery. With the opening just a few weeks away when we meet, Khoury’s working space is expanded beyond the 15-by-18-foot studio to include nearly every room of the home she shares with her partner, artist Alicia McCarthy.\u003c/p>\n\u003cp>And while any solo show would be cause for a focused period of intense making, this exhibition occupies a special place in Khoury’s personal trajectory as an artist. It was one of the first San Francisco galleries she would visit regularly, along with \u003ca href=\"http://www.jackhanley.com/\" target=\"_blank\" rel=\"noopener\">Jack Hanley Gallery\u003c/a> and \u003ca href=\"https://www.gallery16.com/\" target=\"_blank\" rel=\"noopener\">Gallery 16\u003c/a>. “I feel like it’s a really neat full circle,” she says. “I’m really proud to show there; it’s a sentimental show in many ways.”\u003c/p>\n\u003cfigure id=\"attachment_12772093\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772093\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6.jpg\" alt=\"Looking out from Khoury's studio; a concrete sculpture outside.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Looking out from Khoury’s studio; a concrete sculpture outside.\u003c/figcaption>\u003c/figure>\n\u003cp>Khoury’s sculptural works — made with papier-mâché, concrete, ceramic and textiles — open in the Luggage Store’s third floor gallery on Feb. 18; a simultaneous solo exhibition by Oakland artist \u003ca href=\"http://annewalshjr.org/\" target=\"_blank\" rel=\"noopener\">Anne Walsh\u003c/a> will occupy the second floor. The two exhibitions share one title, \u003ci>\u003ca href=\"http://www.luggagestoregallery.org/2017/02/they-featuring-sahar-khoury-anne-walsh/\" target=\"_blank\" rel=\"noopener\">THEY\u003c/a>\u003c/i>, a word Khoury says fits her need to understand what’s happened in the United States since the Nov. 8 election.\u003c/p>\n\u003cp>“I’m just trying to understand people’s fears rather than hate them for it.” Otherwise, she says, “I can get very very angry.”\u003c/p>\n\u003cp>Khoury studied anthropology in college, arriving at visual art through printmaking classes at the \u003ca href=\"http://www.missionculturalcenter.org/\" target=\"_blank\" rel=\"noopener\">Mission Cultural Center for Latino Arts\u003c/a>. Under Michael Roman’s tutelage, she began learning screen printing and monotype techniques. “I made these huge bed sheets,” she says, remembering her space-saving techniques in her first studio at 16th and Mission. “You could silkscreen this huge thing and then fold it up and put it away.”\u003c/p>\n\u003cfigure id=\"attachment_12772095\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772095\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28.jpg\" alt=\"Chair in Khoury's studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chair in Khoury’s studio. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She looks around her current studio, where almost all the sculptures and wall reliefs contain clothing or other domestic textiles. “It’s funny,” she says, “as much as you think your art is changing, it’s not changing at all.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The clothes and fabrics come from friends, from McCarthy, from Khoury’s own closet. “It feels like the closest thing I’m going to get to a self-portrait,” she says. “That gives me some pleasure.”\u003c/p>\n\u003cp>Khoury balances hard and soft elements in a practice she compares to painting. Much like a painter’s canvas becomes the vehicle for a personal vision, Khoury’s sculptures build a new reality around her. Structural and material decisions happen as she works, leading to process she calls “creative repair,” like a broken tail light fixed with duct tape.\u003c/p>\n\u003cfigure id=\"attachment_12772097\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32.jpg\" alt=\"Woven and artist-made vessels.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Woven and artist-made vessels. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one finished piece, a narrow strip of beige carpet sits on top of an L-shaped shelf of rough concrete and rebar. Above that, a rugged arc supports a two-handled vessel covered in patchwork scraps of leather and woven fabric, the seams and hems still visible.\u003c/p>\n\u003cp>Khoury’s forms open up to the viewer; many look like they’ve been cut down the middle as part of a scientific cross-section. Khoury describes them not as unfinished, but coming into themselves. “I like that moment where you get to see how the thing is made and you can see the interior of the piece,” she says.\u003c/p>\n\u003cp>“I’m an obvious materialist,” she says. “The material is the message and that’s all I want to say about the work.”\u003c/p>\n\u003cfigure id=\"attachment_12772092\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772092\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5.jpg\" alt=\"Concrete mask piece; a papier-mâché cat.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Concrete mask piece; a papier-mâché cat. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She states this emphatically, but Khoury’s work can’t be reduced to simple material explorations. Against the wall of her studio stand a series of tall thin numbers supported by concrete bases. Their tubular shape comes from rolling copies of \u003ci>The New York Times\u003c/i> around an armature and stacking them three high until they reach the same height as Khoury herself. Just as the Luggage Store is a marker on Khoury’s artistic timeline, these numbers mark important dates in Khoury’s family history.\u003c/p>\n\u003cp>“I’m going to choose the moments in history that brought me here, by way of my parents and their struggles,” she says. 1979 is for the Iranian Revolution; her mother fled Iran a few years prior. 1948 is for her Jordanian Palestinian father — the year of the Nakba, when over 700,000 Palestinians fled or were expelled from their homes during the 1948 Palestine war. To Khoury, these dates are significant not just in the context of her family’s personal narrative and the history of the Middle East, but as moments that help explain the state of global politics today.\u003c/p>\n\u003cfigure id=\"attachment_12772096\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772096\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29.jpg\" alt=\"A conglomeration of texture and pattern on Khoury's clothing; papier-mâché numbers made from rolled-up New York Times.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A conglomeration of texture and pattern on Khoury’s clothing; papier-mâché numbers made from rolled-up New York Times. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’s hesitant to make public the significance of the dates. “No one needs to know that, I’m not going to tell anyone that,” she says. “I just kind of feel like, if we want to talk about Middle East turmoil, let’s really think about the specific moments in history when colonial powers and imperialism have played a part in shaping that history.”\u003c/p>\n\u003cp>As resistant as she is to assigning meaning to her work, Khoury admits things have changed since Nov. 8. More than ever, she sees sculptures as demolished, hurt and wounded. The concrete reminds her of rubble.\u003c/p>\n\u003cfigure id=\"attachment_12772668\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39.jpg\" alt=\"On Khoury's porch; in the living room-turned-temporary studio.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">On Khoury’s porch; in the living room-turned-temporary studio. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m abstract to the core. I love it, that can’t change, but I just feel like I’m making so many destructive pieces,” she says. “Some of them are hard for me to look at.”\u003c/p>\n\u003cp>But that doesn’t mean she’ll change her process or her approach to artmaking. “I just don’t think we’re in a pure society, so I don’t know how my art can be very pure,” she says. “I like the clashing of things that aren’t supposed to go together, because that feels truer to my experience than something that’s all pure.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Sahar Khoury and Anne Walsh’s solo shows are on view at the Luggage Store in San Francisco Feb. 18-March 18, 2017. For more information visit \u003ca href=\"http://www.luggagestoregallery.org/2017/02/they-featuring-sahar-khoury-anne-walsh/\" target=\"_blank\" rel=\"noopener\">luggagestoregallery.org\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The Oakland artist prepares for a solo exhibition at the Luggage Store Gallery working with a process-based practice she calls \"creative repair.\"","status":"publish","parent":0,"modified":1705031526,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1176},"headData":{"title":"Bay Area Sculpture Right Now: Sahar Khoury Revels in Rupture | KQED","description":"The Oakland artist prepares for a solo exhibition at the Luggage Store Gallery working with a process-based practice she calls "creative repair."","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Sculpture Right Now: Sahar Khoury Revels in Rupture","datePublished":"2017-02-16T20:30:56.000Z","dateModified":"2024-01-12T03:52:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12772088/bay-area-sculpture-right-now-sahar-khoury-balances-hard-and-soft","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Behind \u003ca href=\"http://www.sahar-khoury.com/\" target=\"_blank\" rel=\"noopener\">Sahar Khoury\u003c/a>’s Oakland home, her studio is filled with works in progress for the sculptor’s upcoming solo show at the Luggage Store Gallery. With the opening just a few weeks away when we meet, Khoury’s working space is expanded beyond the 15-by-18-foot studio to include nearly every room of the home she shares with her partner, artist Alicia McCarthy.\u003c/p>\n\u003cp>And while any solo show would be cause for a focused period of intense making, this exhibition occupies a special place in Khoury’s personal trajectory as an artist. It was one of the first San Francisco galleries she would visit regularly, along with \u003ca href=\"http://www.jackhanley.com/\" target=\"_blank\" rel=\"noopener\">Jack Hanley Gallery\u003c/a> and \u003ca href=\"https://www.gallery16.com/\" target=\"_blank\" rel=\"noopener\">Gallery 16\u003c/a>. “I feel like it’s a really neat full circle,” she says. “I’m really proud to show there; it’s a sentimental show in many ways.”\u003c/p>\n\u003cfigure id=\"attachment_12772093\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772093\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6.jpg\" alt=\"Looking out from Khoury's studio; a concrete sculpture outside.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__6-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Looking out from Khoury’s studio; a concrete sculpture outside.\u003c/figcaption>\u003c/figure>\n\u003cp>Khoury’s sculptural works — made with papier-mâché, concrete, ceramic and textiles — open in the Luggage Store’s third floor gallery on Feb. 18; a simultaneous solo exhibition by Oakland artist \u003ca href=\"http://annewalshjr.org/\" target=\"_blank\" rel=\"noopener\">Anne Walsh\u003c/a> will occupy the second floor. The two exhibitions share one title, \u003ci>\u003ca href=\"http://www.luggagestoregallery.org/2017/02/they-featuring-sahar-khoury-anne-walsh/\" target=\"_blank\" rel=\"noopener\">THEY\u003c/a>\u003c/i>, a word Khoury says fits her need to understand what’s happened in the United States since the Nov. 8 election.\u003c/p>\n\u003cp>“I’m just trying to understand people’s fears rather than hate them for it.” Otherwise, she says, “I can get very very angry.”\u003c/p>\n\u003cp>Khoury studied anthropology in college, arriving at visual art through printmaking classes at the \u003ca href=\"http://www.missionculturalcenter.org/\" target=\"_blank\" rel=\"noopener\">Mission Cultural Center for Latino Arts\u003c/a>. Under Michael Roman’s tutelage, she began learning screen printing and monotype techniques. “I made these huge bed sheets,” she says, remembering her space-saving techniques in her first studio at 16th and Mission. “You could silkscreen this huge thing and then fold it up and put it away.”\u003c/p>\n\u003cfigure id=\"attachment_12772095\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772095\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28.jpg\" alt=\"Chair in Khoury's studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__28-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chair in Khoury’s studio. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She looks around her current studio, where almost all the sculptures and wall reliefs contain clothing or other domestic textiles. “It’s funny,” she says, “as much as you think your art is changing, it’s not changing at all.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The clothes and fabrics come from friends, from McCarthy, from Khoury’s own closet. “It feels like the closest thing I’m going to get to a self-portrait,” she says. “That gives me some pleasure.”\u003c/p>\n\u003cp>Khoury balances hard and soft elements in a practice she compares to painting. Much like a painter’s canvas becomes the vehicle for a personal vision, Khoury’s sculptures build a new reality around her. Structural and material decisions happen as she works, leading to process she calls “creative repair,” like a broken tail light fixed with duct tape.\u003c/p>\n\u003cfigure id=\"attachment_12772097\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32.jpg\" alt=\"Woven and artist-made vessels.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__32-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Woven and artist-made vessels. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one finished piece, a narrow strip of beige carpet sits on top of an L-shaped shelf of rough concrete and rebar. Above that, a rugged arc supports a two-handled vessel covered in patchwork scraps of leather and woven fabric, the seams and hems still visible.\u003c/p>\n\u003cp>Khoury’s forms open up to the viewer; many look like they’ve been cut down the middle as part of a scientific cross-section. Khoury describes them not as unfinished, but coming into themselves. “I like that moment where you get to see how the thing is made and you can see the interior of the piece,” she says.\u003c/p>\n\u003cp>“I’m an obvious materialist,” she says. “The material is the message and that’s all I want to say about the work.”\u003c/p>\n\u003cfigure id=\"attachment_12772092\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772092\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5.jpg\" alt=\"Concrete mask piece; a papier-mâché cat.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__5-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Concrete mask piece; a papier-mâché cat. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She states this emphatically, but Khoury’s work can’t be reduced to simple material explorations. Against the wall of her studio stand a series of tall thin numbers supported by concrete bases. Their tubular shape comes from rolling copies of \u003ci>The New York Times\u003c/i> around an armature and stacking them three high until they reach the same height as Khoury herself. Just as the Luggage Store is a marker on Khoury’s artistic timeline, these numbers mark important dates in Khoury’s family history.\u003c/p>\n\u003cp>“I’m going to choose the moments in history that brought me here, by way of my parents and their struggles,” she says. 1979 is for the Iranian Revolution; her mother fled Iran a few years prior. 1948 is for her Jordanian Palestinian father — the year of the Nakba, when over 700,000 Palestinians fled or were expelled from their homes during the 1948 Palestine war. To Khoury, these dates are significant not just in the context of her family’s personal narrative and the history of the Middle East, but as moments that help explain the state of global politics today.\u003c/p>\n\u003cfigure id=\"attachment_12772096\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772096\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29.jpg\" alt=\"A conglomeration of texture and pattern on Khoury's clothing; papier-mâché numbers made from rolled-up New York Times.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__29-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A conglomeration of texture and pattern on Khoury’s clothing; papier-mâché numbers made from rolled-up New York Times. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’s hesitant to make public the significance of the dates. “No one needs to know that, I’m not going to tell anyone that,” she says. “I just kind of feel like, if we want to talk about Middle East turmoil, let’s really think about the specific moments in history when colonial powers and imperialism have played a part in shaping that history.”\u003c/p>\n\u003cp>As resistant as she is to assigning meaning to her work, Khoury admits things have changed since Nov. 8. More than ever, she sees sculptures as demolished, hurt and wounded. The concrete reminds her of rubble.\u003c/p>\n\u003cfigure id=\"attachment_12772668\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12772668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39.jpg\" alt=\"On Khoury's porch; in the living room-turned-temporary studio.\" width=\"1200\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-1180x873.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sahar_Khoury_KQED__39-520x385.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">On Khoury’s porch; in the living room-turned-temporary studio. \u003ccite>(Photo by Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m abstract to the core. I love it, that can’t change, but I just feel like I’m making so many destructive pieces,” she says. “Some of them are hard for me to look at.”\u003c/p>\n\u003cp>But that doesn’t mean she’ll change her process or her approach to artmaking. “I just don’t think we’re in a pure society, so I don’t know how my art can be very pure,” she says. “I like the clashing of things that aren’t supposed to go together, because that feels truer to my experience than something that’s all pure.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Sahar Khoury and Anne Walsh’s solo shows are on view at the Luggage Store in San Francisco Feb. 18-March 18, 2017. For more information visit \u003ca href=\"http://www.luggagestoregallery.org/2017/02/they-featuring-sahar-khoury-anne-walsh/\" target=\"_blank\" rel=\"noopener\">luggagestoregallery.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12772088/bay-area-sculpture-right-now-sahar-khoury-balances-hard-and-soft","authors":["61"],"series":["arts_1449"],"categories":["arts_70"],"tags":["arts_1119","arts_1118","arts_596"],"featImg":"arts_12772090","label":"arts_1449"},"arts_12164799":{"type":"posts","id":"arts_12164799","meta":{"index":"posts_1591205157","site":"arts","id":"12164799","score":null,"sort":[1476198015000]},"guestAuthors":[],"slug":"bay-area-sculpture-right-now-alyssa-lempesis-wants-to-gross-you-out","title":"Bay Area Sculpture Right Now: Alyssa Lempesis Wants to Gross You Out","publishDate":1476198015,"format":"image","headTitle":"Bay Area Sculpture Right Now: Alyssa Lempesis Wants to Gross You Out | KQED","labelTerm":{"term":1449,"site":"arts"},"content":"\u003cp>According to my audio recording of our studio visit, I spent nearly four whole minutes touching one of \u003ca href=\"http://alyssalempesis.com/\" target=\"_blank\" rel=\"noopener\">Alyssa Lempesis\u003c/a>’ sculptures, a set of hands cast out of stretchy “flesh-colored” rubber. \u003c/p>\n\u003cp>I feel bad relating this detail, since most people probably won’t get the chance to enjoy what was to me a simultaneously thrilling and disgusting tactile experience.\u003c/p>\n\u003cp>Inside West Oakland’s \u003ca href=\"https://aggregatespacegallery.org/\" target=\"_blank\" rel=\"noopener\">Aggregate Space Gallery\u003c/a>, up a set of steep stairs to a lofted studio, Lempesis works on surreal organic-looking sculptures and eerie stop-motion animation videos. She wants you to want to touch her work; she identifies with your struggle to keep your hands to yourself. \u003c/p>\n\u003cfigure id=\"attachment_12167818\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/HandsHair.jpg\" alt=\"The cast rubber hands; a smaller sculptural work in the studio (L–R).\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The cast rubber hands; A smaller sculptural work in the studio. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m a dangerous person in galleries and museums,” she says. “I’m definitely the kind of person where the security guard is like, ‘Ma’am, please back away from the object, you stay behind the line.’”\u003c/p>\n\u003cp>Part of the tactile attraction in Lempesis’ work is the mystery of its making. Her material lists read like the ingredients of a witchy concoction: nylon flock, Magic Smooth, epoxy, aggregates, hair (real \u003ci>and\u003c/i> fake), sand, atomized metal powder, wool, sausage casings, foams, silicone, latex, Vaseline, the list goes on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The resulting sculptures resemble internal organs, deep-sea creatures, crusty growths and other oddities of the natural world — the types of things that elicit a complicated combination of attraction and revulsion. \u003c/p>\n\u003cfigure id=\"attachment_12167821\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/HairLeg.jpg\" alt=\"Material and artwork storage in Lempesis' studio; Sculptures 'flick,' 'crumb' and 'clot,' from left to right.\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Material and artwork storage in Lempesis’ studio; sculptures ‘flick,’ ‘crumb’ and ‘clot’ (L–R). \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Drawn to art from an early age, Lempesis went to college intending to study theatrical design. But at the beginning of her sophomore year at UC Berkeley, she fell ill and had to drop out of school to move home. “It was really intense for me,” she says. “I had issues with my immune system and it was sort of debilitating. I was really out of commission for a while.”\u003c/p>\n\u003cp>“After it was all said and done, after all these medications and being in and out of the doctor’s, they told me they had no idea what caused it,” she says.\u003c/p>\n\u003cp>It was a serious illness, she says, but the unknowability of her ailment was “also kind of absurd.” As she recovered, Lempesis felt more than ever that she wanted to commit herself to studying art, beginning with a sculpture class at her local community college. \u003c/p>\n\u003cfigure id=\"attachment_12167820\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/ToolsInProg.jpg\" alt=\"Tools in Lempesis' studio; A sculpture in progress.\" width=\"1200\" height=\"837\" class=\"size-full wp-image-12167820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-400x279.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-960x670.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tools in Lempesis’ studio; A sculpture in progress. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I found momentum taking that course,” she says. “I think that whole issue with being really confronted by my body shifted my awareness of my insides. It shifted my awareness of what I was doing with my work. All this stuff that we walk around with in our bodies that we can’t see — how does it affect us and how we choose to abstract it and make it funny and approachable?”\u003c/p>\n\u003cp>Lempesis’ definition of “approachable” might be a bit different from most people’s understanding of the word. During her April 2016 exhibition at \u003ca href=\"http://www.alterspace.gallery/a/alyssa-lempesis-gulp/\" target=\"_blank\" rel=\"noopener\">Alter Space Gallery\u003c/a>, I watched people watch \u003ci>Gulp\u003c/i>, a short stop-motion animation filled with gooey limbs swathed in blue and fuchsia light. Children squealed in delight to see movements that resembled bodily functions rendered large-scale and autonomous. Some viewers turned sideways, a classic horror-movie watching tactic meant to limit one’s exposure to upsetting images.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/183908032\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Lempesis says the most common reaction she gets to her work is “Ew, gross!” It makes her day.\u003c/p>\n\u003cp>“There’s something really visceral about stuff moving on its own,” she says. She didn’t start translating her static sculptures into the subjects of stop-motion animations until the end of her MFA program at UC Davis. “I already anthropomorphized my work in the studio,” she says. “I always imagined them moving and so it was only natural that they would start to move.”\u003c/p>\n\u003cp>While her static sculptures and the works she makes for stop-motion animation inform one another, they don’t enter each other’s worlds. One of the biggest differences between the two is the intensity of observation to which Lempesis subjects stop-motion props. \u003c/p>\n\u003cfigure id=\"attachment_12167823\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/StopMotion.jpg\" alt=\"Lempesis' stop-motion set-up, complete with colored lights.\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lempesis’ stop-motion set-up, complete with colored lights. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to spending days, weeks or months meticulously arranging and shooting the frames for a single video, she photographs most of her animations through a macro lens, giving her incredibly detailed views of her tableaux. “It kind of changes the way I think about what I put into my materials,” she says. “Some things that I can’t see with my eye, I can see under my lens.”\u003c/p>\n\u003cp>And beyond what’s actually there, Lempesis’ animations allow her to imbue objects with her own creative imagination. “The way I imagine these things moving or the way I get to experience them while making them, I now get to show you an animation,” she says. “It’s so much more physical and visceral and tactile. I squeeze things and mix things. Things are always sort of twitching and moving and shifting when I’m making them.”\u003c/p>\n\u003cp>“I don’t want my stuff to be dead,” she says of the sculptures and animations alike. “I want it to look alive.”\u003c/p>\n\u003cfigure id=\"attachment_12167817\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/SculptureStudies.jpg\" alt=\"Creature-like sculptures in Lempesis' studio.\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167817\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Creature-like sculptures in Lempesis’ studio. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her videos look like clips deemed too weird for \u003ci>Planet Earth\u003c/i>, a combination of filmmaker and biologist Jean Painlevé’s “\u003ca href=\"https://www.youtube.com/channel/UCrmhlRYQ44_PXsc6Qst30Ng/videos\" target=\"_blank\" rel=\"noopener\">scientific-poetic cinema\u003c/a>” and Wes Anderson’s \u003ci>The Life Aquatic with Steve Zissou\u003c/i>.\u003c/p>\n\u003cp>The references to fictionalized underwater creatures aren’t accidental. “I went to the aquarium and was like, ‘Yes! Sea life! This is it! This looks like the land that I want things to live in,’” she says.\u003c/p>\n\u003cp>An oft-quoted statistic from the National Ocean Service states: “For all of our reliance on the ocean, 95 percent of this realm remains unexplored, unseen by human eyes. On land, another frequently repeated estimate (\u003ca href=\"https://www.bostonglobe.com/ideas/2014/09/13/your-body-mostly-microbes-actually-have-idea/qlcoKot4wfUXecjeVaFKFN/story.html\" target=\"_blank\" rel=\"noopener\">that might be wildly inaccurate\u003c/a>, but still breeds discomfort) claims humans are “ten parts microbe, and one part human.” Lempesis revels in these numbers, and in the visual and conceptual similarities between the mysterious underwater terrain and our mysterious bodily insides. \u003c/p>\n\u003cfigure id=\"attachment_12167822\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Books.jpg\" alt=\"Reference books and research in Lempesis' studio; A spread in 'This Living Reef.'\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Reference books and research in Lempesis’ studio; A spread in ‘This Living Reef.’ \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My insides have always been alien to me, and now I’m interested in the alien and unknown of the underwater,” she says. “I like to dig under the surface of things. I want to go deep, under the skin, under the ocean.”\u003c/p>\n\u003cp>If you can stomach it — which you should — she’ll bring you along for the ride.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>See Alyssa Lempesis’ work in person at CSU Stanislaus in Turlock, on view in the Building Imagination Center through Oct. 27. Visit \u003ca href=\"http://buildingimagination.com/?ai1ec_event=artist-reception-alyssa-lempesis&instance_id=4313\" target=\"_blank\" rel=\"noopener\">buildingimagination.com\u003c/a> for more information.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Dive under the surface — of both the human body and the ocean's waves — for the inspiration behind this Oakland-based artist's creature-like sculptures and eerie stop-motion animations. ","status":"publish","parent":0,"modified":1705032813,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1247},"headData":{"title":"Bay Area Sculpture Right Now: Alyssa Lempesis Wants to Gross You Out | KQED","description":"Dive under the surface — of both the human body and the ocean's waves — for the inspiration behind this Oakland-based artist's creature-like sculptures and eerie stop-motion animations. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Sculpture Right Now: Alyssa Lempesis Wants to Gross You Out","datePublished":"2016-10-11T15:00:15.000Z","dateModified":"2024-01-12T04:13:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12164799/bay-area-sculpture-right-now-alyssa-lempesis-wants-to-gross-you-out","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>According to my audio recording of our studio visit, I spent nearly four whole minutes touching one of \u003ca href=\"http://alyssalempesis.com/\" target=\"_blank\" rel=\"noopener\">Alyssa Lempesis\u003c/a>’ sculptures, a set of hands cast out of stretchy “flesh-colored” rubber. \u003c/p>\n\u003cp>I feel bad relating this detail, since most people probably won’t get the chance to enjoy what was to me a simultaneously thrilling and disgusting tactile experience.\u003c/p>\n\u003cp>Inside West Oakland’s \u003ca href=\"https://aggregatespacegallery.org/\" target=\"_blank\" rel=\"noopener\">Aggregate Space Gallery\u003c/a>, up a set of steep stairs to a lofted studio, Lempesis works on surreal organic-looking sculptures and eerie stop-motion animation videos. She wants you to want to touch her work; she identifies with your struggle to keep your hands to yourself. \u003c/p>\n\u003cfigure id=\"attachment_12167818\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/HandsHair.jpg\" alt=\"The cast rubber hands; a smaller sculptural work in the studio (L–R).\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HandsHair-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The cast rubber hands; A smaller sculptural work in the studio. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m a dangerous person in galleries and museums,” she says. “I’m definitely the kind of person where the security guard is like, ‘Ma’am, please back away from the object, you stay behind the line.’”\u003c/p>\n\u003cp>Part of the tactile attraction in Lempesis’ work is the mystery of its making. Her material lists read like the ingredients of a witchy concoction: nylon flock, Magic Smooth, epoxy, aggregates, hair (real \u003ci>and\u003c/i> fake), sand, atomized metal powder, wool, sausage casings, foams, silicone, latex, Vaseline, the list goes on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The resulting sculptures resemble internal organs, deep-sea creatures, crusty growths and other oddities of the natural world — the types of things that elicit a complicated combination of attraction and revulsion. \u003c/p>\n\u003cfigure id=\"attachment_12167821\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/HairLeg.jpg\" alt=\"Material and artwork storage in Lempesis' studio; Sculptures 'flick,' 'crumb' and 'clot,' from left to right.\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/HairLeg-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Material and artwork storage in Lempesis’ studio; sculptures ‘flick,’ ‘crumb’ and ‘clot’ (L–R). \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Drawn to art from an early age, Lempesis went to college intending to study theatrical design. But at the beginning of her sophomore year at UC Berkeley, she fell ill and had to drop out of school to move home. “It was really intense for me,” she says. “I had issues with my immune system and it was sort of debilitating. I was really out of commission for a while.”\u003c/p>\n\u003cp>“After it was all said and done, after all these medications and being in and out of the doctor’s, they told me they had no idea what caused it,” she says.\u003c/p>\n\u003cp>It was a serious illness, she says, but the unknowability of her ailment was “also kind of absurd.” As she recovered, Lempesis felt more than ever that she wanted to commit herself to studying art, beginning with a sculpture class at her local community college. \u003c/p>\n\u003cfigure id=\"attachment_12167820\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/ToolsInProg.jpg\" alt=\"Tools in Lempesis' studio; A sculpture in progress.\" width=\"1200\" height=\"837\" class=\"size-full wp-image-12167820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-400x279.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ToolsInProg-960x670.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tools in Lempesis’ studio; A sculpture in progress. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I found momentum taking that course,” she says. “I think that whole issue with being really confronted by my body shifted my awareness of my insides. It shifted my awareness of what I was doing with my work. All this stuff that we walk around with in our bodies that we can’t see — how does it affect us and how we choose to abstract it and make it funny and approachable?”\u003c/p>\n\u003cp>Lempesis’ definition of “approachable” might be a bit different from most people’s understanding of the word. During her April 2016 exhibition at \u003ca href=\"http://www.alterspace.gallery/a/alyssa-lempesis-gulp/\" target=\"_blank\" rel=\"noopener\">Alter Space Gallery\u003c/a>, I watched people watch \u003ci>Gulp\u003c/i>, a short stop-motion animation filled with gooey limbs swathed in blue and fuchsia light. Children squealed in delight to see movements that resembled bodily functions rendered large-scale and autonomous. Some viewers turned sideways, a classic horror-movie watching tactic meant to limit one’s exposure to upsetting images.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/183908032\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Lempesis says the most common reaction she gets to her work is “Ew, gross!” It makes her day.\u003c/p>\n\u003cp>“There’s something really visceral about stuff moving on its own,” she says. She didn’t start translating her static sculptures into the subjects of stop-motion animations until the end of her MFA program at UC Davis. “I already anthropomorphized my work in the studio,” she says. “I always imagined them moving and so it was only natural that they would start to move.”\u003c/p>\n\u003cp>While her static sculptures and the works she makes for stop-motion animation inform one another, they don’t enter each other’s worlds. One of the biggest differences between the two is the intensity of observation to which Lempesis subjects stop-motion props. \u003c/p>\n\u003cfigure id=\"attachment_12167823\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/StopMotion.jpg\" alt=\"Lempesis' stop-motion set-up, complete with colored lights.\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/StopMotion-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lempesis’ stop-motion set-up, complete with colored lights. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to spending days, weeks or months meticulously arranging and shooting the frames for a single video, she photographs most of her animations through a macro lens, giving her incredibly detailed views of her tableaux. “It kind of changes the way I think about what I put into my materials,” she says. “Some things that I can’t see with my eye, I can see under my lens.”\u003c/p>\n\u003cp>And beyond what’s actually there, Lempesis’ animations allow her to imbue objects with her own creative imagination. “The way I imagine these things moving or the way I get to experience them while making them, I now get to show you an animation,” she says. “It’s so much more physical and visceral and tactile. I squeeze things and mix things. Things are always sort of twitching and moving and shifting when I’m making them.”\u003c/p>\n\u003cp>“I don’t want my stuff to be dead,” she says of the sculptures and animations alike. “I want it to look alive.”\u003c/p>\n\u003cfigure id=\"attachment_12167817\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/SculptureStudies.jpg\" alt=\"Creature-like sculptures in Lempesis' studio.\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167817\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/SculptureStudies-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Creature-like sculptures in Lempesis’ studio. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her videos look like clips deemed too weird for \u003ci>Planet Earth\u003c/i>, a combination of filmmaker and biologist Jean Painlevé’s “\u003ca href=\"https://www.youtube.com/channel/UCrmhlRYQ44_PXsc6Qst30Ng/videos\" target=\"_blank\" rel=\"noopener\">scientific-poetic cinema\u003c/a>” and Wes Anderson’s \u003ci>The Life Aquatic with Steve Zissou\u003c/i>.\u003c/p>\n\u003cp>The references to fictionalized underwater creatures aren’t accidental. “I went to the aquarium and was like, ‘Yes! Sea life! This is it! This looks like the land that I want things to live in,’” she says.\u003c/p>\n\u003cp>An oft-quoted statistic from the National Ocean Service states: “For all of our reliance on the ocean, 95 percent of this realm remains unexplored, unseen by human eyes. On land, another frequently repeated estimate (\u003ca href=\"https://www.bostonglobe.com/ideas/2014/09/13/your-body-mostly-microbes-actually-have-idea/qlcoKot4wfUXecjeVaFKFN/story.html\" target=\"_blank\" rel=\"noopener\">that might be wildly inaccurate\u003c/a>, but still breeds discomfort) claims humans are “ten parts microbe, and one part human.” Lempesis revels in these numbers, and in the visual and conceptual similarities between the mysterious underwater terrain and our mysterious bodily insides. \u003c/p>\n\u003cfigure id=\"attachment_12167822\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Books.jpg\" alt=\"Reference books and research in Lempesis' studio; A spread in 'This Living Reef.'\" width=\"1200\" height=\"791\" class=\"size-full wp-image-12167822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Books-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Reference books and research in Lempesis’ studio; A spread in ‘This Living Reef.’ \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My insides have always been alien to me, and now I’m interested in the alien and unknown of the underwater,” she says. “I like to dig under the surface of things. I want to go deep, under the skin, under the ocean.”\u003c/p>\n\u003cp>If you can stomach it — which you should — she’ll bring you along for the ride.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>See Alyssa Lempesis’ work in person at CSU Stanislaus in Turlock, on view in the Building Imagination Center through Oct. 27. Visit \u003ca href=\"http://buildingimagination.com/?ai1ec_event=artist-reception-alyssa-lempesis&instance_id=4313\" target=\"_blank\" rel=\"noopener\">buildingimagination.com\u003c/a> for more information.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12164799/bay-area-sculpture-right-now-alyssa-lempesis-wants-to-gross-you-out","authors":["61"],"series":["arts_1449"],"categories":["arts_70"],"tags":["arts_1119","arts_1118","arts_596"],"featImg":"arts_12167803","label":"arts_1449"},"arts_12010098":{"type":"posts","id":"arts_12010098","meta":{"index":"posts_1591205157","site":"arts","id":"12010098","score":null,"sort":[1473174085000]},"guestAuthors":[],"slug":"bay-area-sculpture-right-now-border-crossing-with-sita-kuratomi-bhaumik","title":"Bay Area Sculpture Right Now: Border Crossing With Sita Kuratomi Bhaumik","publishDate":1473174085,"format":"image","headTitle":"Bay Area Sculpture Right Now: Border Crossing With Sita Kuratomi Bhaumik | KQED","labelTerm":{"term":1449,"site":"arts"},"content":"\u003cp>Long before Donald J. Trump entered the 2016 presidential election, and long before he promised to build a 50-foot-tall, 1,000-mile-long wall between the United States and Mexico, Oakland-based artist \u003ca href=\"http://sitabhaumik.com/\" target=\"_blank\" rel=\"noopener\">Sita Kuratomi Bhaumik\u003c/a> was thinking about borders.\u003c/p>\n\u003cp>“For some people, their life is the wall or the border and that’s their entire experience. And then for so many of us it’s absolutely this imagined thing that exists some place far, far away,” she says. As the topic of the border wall entered the current election cycle, Bhaumik wanted to make that distant and abstract thing a more relatable reality for local audiences.\u003c/p>\n\u003cp>On Friday, Sept. 9, Bhaumik opens \u003ci>\u003ca href=\"https://www.soex.org/projects-exhibitions/estamos-contra-el-muro-we-are-against-wall\" target=\"_blank\" rel=\"noopener\">Estamos contra el muro | We Are Against the Wall\u003c/a>\u003c/i> at San Francisco’s visual arts nonprofit \u003ca href=\"https://www.soex.org/\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a>. Collaborating with Bay Area- and Mexico-based piñata makers, along with a mural artist, a DJ collective, chefs and activists, Bhaumik plans to recreate the life cycle of a cinder block border wall — made entirely of piñatas.\u003c/p>\n\u003cfigure id=\"attachment_12010299\" class=\"wp-caption aligncenter\" style=\"max-width: 1104px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93.jpg\" alt=\"Bhaumik's upcoming project at Southern Exposure, 'Estamos contra el muro | We are against the wall.'\" width=\"1104\" height=\"720\" class=\"size-full wp-image-12010299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93-960x626.jpg 960w\" sizes=\"(max-width: 1104px) 100vw, 1104px\">\u003cfigcaption class=\"wp-caption-text\">Bhaumik’s upcoming project at Southern Exposure, ‘Estamos contra el muro | We are against the wall.’ \u003ccite>(Courtesy of the artist and Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gray tissue-paper-covered blocks are possibly the least-festive piñatas ever made, with their drab fringes and square corners, but Bhaumik and her collaborators will bring life, color, music and food to the wall over the course of the exhibition, culminating in \u003ca href=\"https://www.soex.org/events/fall-la-ca%C3%ADda-community-demolition-party\" target=\"_blank\" rel=\"noopener\">an Oct. 15 event\u003c/a> during which the public is invited to channel their aggression towards divisive architecture and ideology and pummel the piñatas into oblivion.\u003c/p>\n\u003cp>“The piñata exists only to be destroyed,” Bhaumik says. “You see a brick and it’s supposed to last 30 years or 100 years. You see a piñata it’s only supposed to last for a birthday. The only reason to build a wall in my opinion is to destroy it.”\u003c/p>\n\u003cfigure id=\"attachment_12010292\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1.jpg\" alt='\"Mexican\" flags and devalued Mexican pesos; Piñatas made by Iván Padilla Mónico, from the indigenous Purepecha community of San Jeronimo Purenchecuaro in Mexico.' width=\"1200\" height=\"880\" class=\"size-full wp-image-12010292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-1180x865.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-960x704.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">“Mexican” flags and devalued Mexican pesos; Piñatas made by Iván Padilla Mónico, from the indigenous Purepecha community of San Jeronimo Purenchecuaro in Mexico. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the timing of Bhaumik’s exhibition ties nicely into this year’s rollercoaster election season, her piñata wall enters a conversation not just about America’s southern border, but about borders — and border walls — in general.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Erecting border walls around the world is always something that people talk about,” Bhaumik says. “But there’s this reality that they’re completely impractical.” Bordering countries rely on one another for resources, people, goods and basic economic exchange, she says. “The wall’s always better as an idea than it is in real life — which is why so many of them come down.”\u003c/p>\n\u003cfigure id=\"attachment_12010290\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200.jpg\" alt=\"Bhaumik holds a copy of a book about her family's history, Japanese farmers in Colombia.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12010290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bhaumik holds a copy of a book about her family’s history, Japanese farmers in Colombia. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first-generation daughter of two immigrants (her father is from West Bengal, her mother is Japanese Colombian), Bhaumik’s artistic practice frequently investigates and makes evident the movement of people and resources that shaped her own family history. In much of her work, that cultural exchange manifests as food.\u003c/p>\n\u003cp>But as Bhaumik discovered in her years of food-related research, nourishment isn’t a universal source of bonding. Searching for the phrase “smells like curry” on the internet late one night, she expected to find recipes and a few xenophobic posts. “What I found was just endless… just these crazy amounts of racist comments,” she says. “Like, ‘Help I bought a couch on Craigslist that smells like curry, what do I do?’” \u003c/p>\n\u003cp>On Yahoo Answers, someone replied to the query of “Help my neighbor smells like curry, what should I do?” with “Call the INS.”\u003c/p>\n\u003cfigure id=\"attachment_12010286\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200.jpg\" alt=\"In Bhaumik's kitchen; One small part of Bhaumik's collection of miniature foodstuffs.\" width=\"1200\" height=\"880\" class=\"size-full wp-image-12010286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-1180x865.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-960x704.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">In Bhaumik’s kitchen; One small part of Bhaumik’s collection of miniature foodstuffs. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We like to think of meals as this moment when you can all gather and break bread and everything is going to be okay,” Bhaumik says. But she found that the inverse was also true. “How does food divide people? How are people judged by it? How is that a marker of difference, or something that separates you and me instead of brings us together?”\u003c/p>\n\u003cp>Partially in response to those ugly internet comments, Bhaumik decided to embrace curry in her art practice. During graduate school at California College of the Arts, Bhaumik’s studio filled with patterned wall installations of curry powder that drew people (and their noses) within centimeters of the flocked surfaces. Other spicy artworks took her to Ireland and the Netherlands, where her project \u003ci>\u003ca href=\"http://sitabhaumik.com/section/392062_Dear_Future.html\" target=\"_blank\" rel=\"noopener\">Dear Future\u003c/a>\u003c/i> used paprika, turmeric, matcha and ube powder as the basis for conversations about the future of food.\u003c/p>\n\u003cfigure id=\"attachment_12010289\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200.jpg\" alt=\"A map of Christopher Columbus' intended and actual routes.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12010289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A map of Christopher Columbus’ intended and actual routes. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With projects like \u003ci>\u003ca href=\"http://sitabhaumik.com/section/391622_MamaSita_s_Tiny_Tea_House.html\" target=\"_blank\" rel=\"noopener\">MamaSita’s Tiny Tea House\u003c/a>\u003c/i>, Bhaumik pushes the culinary interactions even further. Instead of simply serving masala chai (the result of British influence on the Indian beverage market) from a miniature sky blue stall, she makes her “customers” kneel to get their free tea. \u003c/p>\n\u003cp>Her interest in miniaturizing everyday objects and interactions is apparent in her home studio. The space is filled with miniature things — small tortilla makers next to regular-sized tortilla makers, tiny plastic donuts next to regular-sized plastic donuts. “I can’t explain it really for myself,” she says. “I just love tiny things when they are next to huge things.”\u003c/p>\n\u003cp>But there’s another reason for this love, she admits. Changes in scale force people to shift their perspective. In addition to regular cinder-block-sized piñatas installed at Southern Exposure, Bhaumik has commissioned a set of miniature piñatas from San Francisco-based Isaías D. Rodríguez, aka the \u003ca href=\"http://littlepinatamaker.weebly.com/store/c1/Featured_Products.html\" target=\"_blank\" rel=\"noopener\">Little Piñata Maker\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_12010287\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200.jpg\" alt=\"miniature book with family photos from her 'MamaSita's Tiny Tea House' project.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-12010287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-960x641.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bhaumik holds a miniature book with family photos from her ‘MamaSita’s Tiny Tea House’ project. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The height and the magnitude of [Trump’s proposed] wall is actually bigger than Southern Expsoure’s gallery,” Bhaumik says. “Having a little architectural model of a six-foot person in relationship to the height of this wall is another way both to point at just the sheer insanity of the scale.”\u003c/p>\n\u003cp>“It also speaks to this wall as a plan and a proposal, because it’s always a plan and a proposal,” she adds, regardless of who’s in the White House.\u003c/p>\n\u003cp>Nowadays, Bhaumik channels her food-related work into the \u003ca href=\"http://peopleskitchencollective.com/\" target=\"_blank\" rel=\"noopener\">People’s Kitchen Collective\u003c/a> (PKC), a collaboration between Bhaumik, Jocelyn Jackson and Saqib Keval. The PKC, which cooks and serves meals for up to 500 people at a time, often in Oakland’s Lil’ Bobby Hutton Park/DeFremery Park, allows the diners and organizers to share cultures, space, struggles and solidarity.\u003c/p>\n\u003cfigure id=\"attachment_12010288\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200.jpg\" alt=\"The Black Panther Party's free breakfast program was an inspiration for the People's Kitchen Collective.\" width=\"1200\" height=\"880\" class=\"size-full wp-image-12010288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-1180x865.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-960x704.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther Party’s free breakfast program was an inspiration for the People’s Kitchen Collective. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think of it as this Venn diagram of food, justice, art and politics,” Bhaumik says of the project. “We’re in that little central point in between all of these things.” It’s an in-between space that Bhaumik happily occupies both in her life and artwork — and that she seeks out in the world at large. \u003c/p>\n\u003cp>“I’m always thinking about these moments, whether it’s the Black Panther Party and ‘\u003ca href=\"http://www.newsreel.us/panthers/yellow_peril.jpg\" target=\"_blank\" rel=\"noopener\">Yellow Peril Supports Black Power\u003c/a>.’ Or whether it’s thinking about the \u003ca href=\"https://en.wikipedia.org/wiki/DREAM_Act\" target=\"_blank\" rel=\"noopener\">DREAM Act\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Deferred_Action_for_Childhood_Arrivals\" target=\"_blank\" rel=\"noopener\">DACA\u003c/a> and immigration reform,” Bhaumik says. “Where are those intersections between communities of color? Because that’s so much a part of my experience.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>See Sita Kuratomi Bhaumik’s work in \u003cb>Estamos contra el muro | We Are Against the Wall\u003c/b> at Southern Exposure in San Francisco, Sept. 9 – Oct. 15. For more information on the exhibition and related events, visit \u003ca href=\"https://www.soex.org/projects-exhibitions/estamos-contra-el-muro-we-are-against-wall\" target=\"_blank\" rel=\"noopener\">soex.org\u003c/a>. \u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"While Trump's wall to divide the U.S. and Mexico dominates our election season, a local artist builds a wall -- with piñatas -- to bring us together.","status":"publish","parent":0,"modified":1705033127,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1415},"headData":{"title":"Bay Area Sculpture Right Now: Border Crossing With Sita Kuratomi Bhaumik | KQED","description":"While Trump's wall to divide the U.S. and Mexico dominates our election season, a local artist builds a wall -- with piñatas -- to bring us together.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Sculpture Right Now: Border Crossing With Sita Kuratomi Bhaumik","datePublished":"2016-09-06T15:01:25.000Z","dateModified":"2024-01-12T04:18:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"492811415","path":"/arts/12010098/bay-area-sculpture-right-now-border-crossing-with-sita-kuratomi-bhaumik","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before Donald J. Trump entered the 2016 presidential election, and long before he promised to build a 50-foot-tall, 1,000-mile-long wall between the United States and Mexico, Oakland-based artist \u003ca href=\"http://sitabhaumik.com/\" target=\"_blank\" rel=\"noopener\">Sita Kuratomi Bhaumik\u003c/a> was thinking about borders.\u003c/p>\n\u003cp>“For some people, their life is the wall or the border and that’s their entire experience. And then for so many of us it’s absolutely this imagined thing that exists some place far, far away,” she says. As the topic of the border wall entered the current election cycle, Bhaumik wanted to make that distant and abstract thing a more relatable reality for local audiences.\u003c/p>\n\u003cp>On Friday, Sept. 9, Bhaumik opens \u003ci>\u003ca href=\"https://www.soex.org/projects-exhibitions/estamos-contra-el-muro-we-are-against-wall\" target=\"_blank\" rel=\"noopener\">Estamos contra el muro | We Are Against the Wall\u003c/a>\u003c/i> at San Francisco’s visual arts nonprofit \u003ca href=\"https://www.soex.org/\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a>. Collaborating with Bay Area- and Mexico-based piñata makers, along with a mural artist, a DJ collective, chefs and activists, Bhaumik plans to recreate the life cycle of a cinder block border wall — made entirely of piñatas.\u003c/p>\n\u003cfigure id=\"attachment_12010299\" class=\"wp-caption aligncenter\" style=\"max-width: 1104px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93.jpg\" alt=\"Bhaumik's upcoming project at Southern Exposure, 'Estamos contra el muro | We are against the wall.'\" width=\"1104\" height=\"720\" class=\"size-full wp-image-12010299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/93b825121b23a36dcdc3944afb15bd93-960x626.jpg 960w\" sizes=\"(max-width: 1104px) 100vw, 1104px\">\u003cfigcaption class=\"wp-caption-text\">Bhaumik’s upcoming project at Southern Exposure, ‘Estamos contra el muro | We are against the wall.’ \u003ccite>(Courtesy of the artist and Southern Exposure)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gray tissue-paper-covered blocks are possibly the least-festive piñatas ever made, with their drab fringes and square corners, but Bhaumik and her collaborators will bring life, color, music and food to the wall over the course of the exhibition, culminating in \u003ca href=\"https://www.soex.org/events/fall-la-ca%C3%ADda-community-demolition-party\" target=\"_blank\" rel=\"noopener\">an Oct. 15 event\u003c/a> during which the public is invited to channel their aggression towards divisive architecture and ideology and pummel the piñatas into oblivion.\u003c/p>\n\u003cp>“The piñata exists only to be destroyed,” Bhaumik says. “You see a brick and it’s supposed to last 30 years or 100 years. You see a piñata it’s only supposed to last for a birthday. The only reason to build a wall in my opinion is to destroy it.”\u003c/p>\n\u003cfigure id=\"attachment_12010292\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1.jpg\" alt='\"Mexican\" flags and devalued Mexican pesos; Piñatas made by Iván Padilla Mónico, from the indigenous Purepecha community of San Jeronimo Purenchecuaro in Mexico.' width=\"1200\" height=\"880\" class=\"size-full wp-image-12010292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-1180x865.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_6_1200_edited-1-960x704.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">“Mexican” flags and devalued Mexican pesos; Piñatas made by Iván Padilla Mónico, from the indigenous Purepecha community of San Jeronimo Purenchecuaro in Mexico. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the timing of Bhaumik’s exhibition ties nicely into this year’s rollercoaster election season, her piñata wall enters a conversation not just about America’s southern border, but about borders — and border walls — in general.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Erecting border walls around the world is always something that people talk about,” Bhaumik says. “But there’s this reality that they’re completely impractical.” Bordering countries rely on one another for resources, people, goods and basic economic exchange, she says. “The wall’s always better as an idea than it is in real life — which is why so many of them come down.”\u003c/p>\n\u003cfigure id=\"attachment_12010290\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200.jpg\" alt=\"Bhaumik holds a copy of a book about her family's history, Japanese farmers in Colombia.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12010290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_17_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bhaumik holds a copy of a book about her family’s history, Japanese farmers in Colombia. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first-generation daughter of two immigrants (her father is from West Bengal, her mother is Japanese Colombian), Bhaumik’s artistic practice frequently investigates and makes evident the movement of people and resources that shaped her own family history. In much of her work, that cultural exchange manifests as food.\u003c/p>\n\u003cp>But as Bhaumik discovered in her years of food-related research, nourishment isn’t a universal source of bonding. Searching for the phrase “smells like curry” on the internet late one night, she expected to find recipes and a few xenophobic posts. “What I found was just endless… just these crazy amounts of racist comments,” she says. “Like, ‘Help I bought a couch on Craigslist that smells like curry, what do I do?’” \u003c/p>\n\u003cp>On Yahoo Answers, someone replied to the query of “Help my neighbor smells like curry, what should I do?” with “Call the INS.”\u003c/p>\n\u003cfigure id=\"attachment_12010286\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200.jpg\" alt=\"In Bhaumik's kitchen; One small part of Bhaumik's collection of miniature foodstuffs.\" width=\"1200\" height=\"880\" class=\"size-full wp-image-12010286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-1180x865.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_3_1200-960x704.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">In Bhaumik’s kitchen; One small part of Bhaumik’s collection of miniature foodstuffs. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We like to think of meals as this moment when you can all gather and break bread and everything is going to be okay,” Bhaumik says. But she found that the inverse was also true. “How does food divide people? How are people judged by it? How is that a marker of difference, or something that separates you and me instead of brings us together?”\u003c/p>\n\u003cp>Partially in response to those ugly internet comments, Bhaumik decided to embrace curry in her art practice. During graduate school at California College of the Arts, Bhaumik’s studio filled with patterned wall installations of curry powder that drew people (and their noses) within centimeters of the flocked surfaces. Other spicy artworks took her to Ireland and the Netherlands, where her project \u003ci>\u003ca href=\"http://sitabhaumik.com/section/392062_Dear_Future.html\" target=\"_blank\" rel=\"noopener\">Dear Future\u003c/a>\u003c/i> used paprika, turmeric, matcha and ube powder as the basis for conversations about the future of food.\u003c/p>\n\u003cfigure id=\"attachment_12010289\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200.jpg\" alt=\"A map of Christopher Columbus' intended and actual routes.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12010289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_20_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A map of Christopher Columbus’ intended and actual routes. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With projects like \u003ci>\u003ca href=\"http://sitabhaumik.com/section/391622_MamaSita_s_Tiny_Tea_House.html\" target=\"_blank\" rel=\"noopener\">MamaSita’s Tiny Tea House\u003c/a>\u003c/i>, Bhaumik pushes the culinary interactions even further. Instead of simply serving masala chai (the result of British influence on the Indian beverage market) from a miniature sky blue stall, she makes her “customers” kneel to get their free tea. \u003c/p>\n\u003cp>Her interest in miniaturizing everyday objects and interactions is apparent in her home studio. The space is filled with miniature things — small tortilla makers next to regular-sized tortilla makers, tiny plastic donuts next to regular-sized plastic donuts. “I can’t explain it really for myself,” she says. “I just love tiny things when they are next to huge things.”\u003c/p>\n\u003cp>But there’s another reason for this love, she admits. Changes in scale force people to shift their perspective. In addition to regular cinder-block-sized piñatas installed at Southern Exposure, Bhaumik has commissioned a set of miniature piñatas from San Francisco-based Isaías D. Rodríguez, aka the \u003ca href=\"http://littlepinatamaker.weebly.com/store/c1/Featured_Products.html\" target=\"_blank\" rel=\"noopener\">Little Piñata Maker\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_12010287\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200.jpg\" alt=\"miniature book with family photos from her 'MamaSita's Tiny Tea House' project.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-12010287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_8_1200-960x641.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Bhaumik holds a miniature book with family photos from her ‘MamaSita’s Tiny Tea House’ project. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The height and the magnitude of [Trump’s proposed] wall is actually bigger than Southern Expsoure’s gallery,” Bhaumik says. “Having a little architectural model of a six-foot person in relationship to the height of this wall is another way both to point at just the sheer insanity of the scale.”\u003c/p>\n\u003cp>“It also speaks to this wall as a plan and a proposal, because it’s always a plan and a proposal,” she adds, regardless of who’s in the White House.\u003c/p>\n\u003cp>Nowadays, Bhaumik channels her food-related work into the \u003ca href=\"http://peopleskitchencollective.com/\" target=\"_blank\" rel=\"noopener\">People’s Kitchen Collective\u003c/a> (PKC), a collaboration between Bhaumik, Jocelyn Jackson and Saqib Keval. The PKC, which cooks and serves meals for up to 500 people at a time, often in Oakland’s Lil’ Bobby Hutton Park/DeFremery Park, allows the diners and organizers to share cultures, space, struggles and solidarity.\u003c/p>\n\u003cfigure id=\"attachment_12010288\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200.jpg\" alt=\"The Black Panther Party's free breakfast program was an inspiration for the People's Kitchen Collective.\" width=\"1200\" height=\"880\" class=\"size-full wp-image-12010288\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-1180x865.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sita_Kuratomi_Bhaumik_KQED_21_1200-960x704.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Black Panther Party’s free breakfast program was an inspiration for the People’s Kitchen Collective. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think of it as this Venn diagram of food, justice, art and politics,” Bhaumik says of the project. “We’re in that little central point in between all of these things.” It’s an in-between space that Bhaumik happily occupies both in her life and artwork — and that she seeks out in the world at large. \u003c/p>\n\u003cp>“I’m always thinking about these moments, whether it’s the Black Panther Party and ‘\u003ca href=\"http://www.newsreel.us/panthers/yellow_peril.jpg\" target=\"_blank\" rel=\"noopener\">Yellow Peril Supports Black Power\u003c/a>.’ Or whether it’s thinking about the \u003ca href=\"https://en.wikipedia.org/wiki/DREAM_Act\" target=\"_blank\" rel=\"noopener\">DREAM Act\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Deferred_Action_for_Childhood_Arrivals\" target=\"_blank\" rel=\"noopener\">DACA\u003c/a> and immigration reform,” Bhaumik says. “Where are those intersections between communities of color? Because that’s so much a part of my experience.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>See Sita Kuratomi Bhaumik’s work in \u003cb>Estamos contra el muro | We Are Against the Wall\u003c/b> at Southern Exposure in San Francisco, Sept. 9 – Oct. 15. For more information on the exhibition and related events, visit \u003ca href=\"https://www.soex.org/projects-exhibitions/estamos-contra-el-muro-we-are-against-wall\" target=\"_blank\" rel=\"noopener\">soex.org\u003c/a>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12010098/bay-area-sculpture-right-now-border-crossing-with-sita-kuratomi-bhaumik","authors":["61"],"series":["arts_1449"],"categories":["arts_835","arts_70"],"tags":["arts_1119","arts_1118","arts_1297","arts_596"],"featImg":"arts_12010283","label":"arts_1449"},"arts_11888270":{"type":"posts","id":"arts_11888270","meta":{"index":"posts_1591205157","site":"arts","id":"11888270","score":null,"sort":[1470236440000]},"guestAuthors":[],"slug":"bay-area-sculpture-right-now-nicki-greens-talismans-of-queer-subtlety","title":"Bay Area Sculpture Right Now: Nicki Green's Talismans of Queer Subtlety","publishDate":1470236440,"format":"image","headTitle":"Bay Area Sculpture Right Now: Nicki Green’s Talismans of Queer Subtlety | KQED","labelTerm":{"term":1449,"site":"arts"},"content":"\u003cp>When artist \u003ca href=\"http://www.nickigreen.org/\" target=\"_blank\" rel=\"noopener\">Nicki Green\u003c/a> moved to San Francisco from New York to attend the San Francisco Art Institute, she knew she’d come to the right place. “I think I called my parents right after landing and was like, ‘This is it,’” she says. Strangers said hello here. The landscape was beautiful. Green had found her community.\u003c/p>\n\u003cp>“This city is so important to queer history,” Green says, sitting in her San Francisco ceramics studio. “I came out here to go to school but I also think that there was this really intentional desire to come here to be queer or be trans, and to be able to do that in a way that felt safe and comfortable.”\u003c/p>\n\u003cp>While enrolled at SFAI, Green honed her ceramics skills in the sculpture department, finishing her BFA in 2009 with a thesis show of slip-cast ceramic dildos, painted in delicate all-over patterns of blue on white glaze. Just a few remain intact in her studio today, and I get to hold one; it’s like an exquisite Delfware sex toy.\u003c/p>\n\u003cp>In the intervening years, Green’s work has taken different forms — from textiles to glazed bricks to fermentation crocks — each bearing Green’s intricate and illustrative patterning. In the studio, the thin blueish purple lines tracing her ceramic work appear simply decorative at first, but none of Green’s work is \u003cem>simply\u003c/em> anything. On the surfaces of vessels, hands hold pickles, make gestures of blessing, and perform medical procedures on human genitalia. Penises sprout from earthenware crocks, mushrooms bloom, and biblical figures immerse themselves in the ritual waters of the mikvah.\u003c/p>\n\u003cfigure id=\"attachment_11870061\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11870061\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/NickiGreenDESK.jpg\" alt=\"In Green's studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenDESK.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenDESK-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenDESK-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenDESK-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenDESK-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenDESK-960x641.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">In Green’s studio. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Green uses the form of functional objects as the conceptual basis of her work. A brick is a building material, yes, but it’s also a potential weapon. Jugs can hold tasty liquid, but also Molotov cocktails. And each of these objects offers up its surface as a vehicle for Green’s images, culled from wide-ranging research into mushrooms, Judaica, queer culture and local history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Green’s last big project before she starts at UC Berkeley’s MFA program in the fall is a series of commemorative mugs celebrating the 50th anniversary of the \u003ca href=\"http://ww2.kqed.org/arts/2016/07/21/in-66-on-one-hot-august-night-trans-women-fought-for-their-rights/\" target=\"_blank\" rel=\"noopener\">Compton’s Cafeteria riot\u003c/a>, the first known instance of collective queer resistance to police harassment in U.S. history. Windows were smashed, people spilled out onto the street, a corner newsstand was set ablaze — and it all started, Green notes, with a coffee mug. A trans woman, sick of the continued harassment she and her community faced at the hands of the SFPD, threw her coffee in the face of the officer who grabbed her arm. In an instant, tableware turned into DIY weaponry.\u003c/p>\n\u003cfigure id=\"attachment_11870063\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11870063\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/NickiGreenNICKI.jpg\" alt=\"Green working on the Compton's Cafeteria project.\" width=\"1200\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenNICKI.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenNICKI-400x183.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenNICKI-800x365.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenNICKI-768x351.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenNICKI-1180x539.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenNICKI-960x438.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Green working on the Compton’s Cafeteria project. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Green’s 50 editioned mugs, sourced from thrift stores around the city, go on display Aug. 16 at San Francisco’s \u003ca href=\"http://www.glbthistory.org/2016/07/26/comptons-riot-art-launch-and-artist-talk/\" target=\"_blank\" rel=\"noopener\">GLBT History Museum\u003c/a>, run by the GLBT Historical Society, which houses in its archives just one box of material on that little-known night. Even the specific date of the riot is lost to history; a violent uprising of San Francisco’s most marginalized citizens didn’t make the pages of a newspaper in August 1966.\u003c/p>\n\u003cp>“Maybe the folks of the Tenderloin, all of the queens and trans women and sex workers, were too busy surviving to think, ‘Let’s archive this,’” Green says of the original Compton’s Cafeteria mugs. “If those objects don’t exist anymore or we have no record of where they are, then as a trans person and as somebody who’s a part of this lineage, I can construct what has not been recognized, and that process mirrors the experience of trans self definition.”\u003c/p>\n\u003cp>While inserting her own objects into the archive of San Francisco queer history, Green also pulls from the material of the past to create new objects. Undecorated bricks labeled “Baker Beach” sit on her studio shelf. A bag of sand collected from the nude section of the beach rests beneath her work table. “If the brick is coming from San Francisco then it’s charged with this energy of the city and the history of the city,” she says. She plans to mix the Baker Beach sand into her earthenware sculptures, imbuing the crocks and urns with that same energy and history, even if it’s invisible to the viewer.\u003c/p>\n\u003cfigure id=\"attachment_11870062\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11870062\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/NickiGreenMUGS.jpg\" alt=\"Editioned mugs for Green's GLBT History Museum exhibition.\" width=\"1200\" height=\"791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenMUGS.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenMUGS-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenMUGS-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenMUGS-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenMUGS-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenMUGS-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Editioned mugs for Green’s GLBT History Museum exhibition. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With so many references and hidden histories at play in her work, Green admits a viewer’s experience depends on who they are. “On one hand there’s the covert nature of your experiencing this thing visually or even materially and you don’t understand it conceptually,” she says of her sculptures. “The point is that it’s not for anybody but the select few in the know to understand.”\u003c/p>\n\u003cp>Like the \u003ca href=\"https://en.wikipedia.org/wiki/Handkerchief_code\" target=\"_blank\" rel=\"noopener\">hanky codes of the ‘70s and ‘80s\u003c/a> and other modes of coded signaling of queerness, Green enjoys communicating certain messages to specific members of her community. “It’s like, ‘I see you, and this is for you,’” she says.\u003c/p>\n\u003cp>“The intention is not to alienate,” she adds, “but I also think that the preservation of community and material in the wink, wink, nudge, nudge of a covert exchange is really important to me.”\u003c/p>\n\u003cfigure id=\"attachment_11870060\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11870060\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/NickiGreenBRICKS.jpg\" alt=\"Glazed and unglazed found bricks on Green's studio shelves.\" width=\"1200\" height=\"887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBRICKS.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBRICKS-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBRICKS-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBRICKS-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBRICKS-1180x872.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBRICKS-960x710.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Glazed and unglazed found bricks on Green’s studio shelves. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the process, her work has evolved to contain increasingly personal symbols. The proliferation of ripple-edged chanterelles on many of Green’s vessels is a departure from patterns made up of what she terms “queer flowers” — pansies, carnations or lavender. “The idea of replacing flowers with fungus felt like a very queer thing,” she says.\u003c/p>\n\u003cp>There was also her discovery, online, of a book titled \u003ci>The Poisonous Mushroom\u003c/i>, a piece of Nazi-era propaganda about hidden “Jewish” mushrooms laying in wait amongst the harmless edible mushrooms of the forest. The cover shows an anti-Semitic caricature of a bearded Jewish face under a mushroom cap.\u003c/p>\n\u003cp>“So much about the development of queer cultural iconography is about reclaiming derogatory concepts and images,” Green says. “So the idea of reclaiming the mushroom feels like this super-empowering thing.” To Green, mushrooms aren’t slimy, deadly fungi, they’re things of alien-like beauty. Their mycelial networks spread underground, helping forests receive nutrients.\u003c/p>\n\u003cfigure id=\"attachment_11870059\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11870059\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/NickiGreenBOOKSBAKER.jpg\" alt=\"Green's bookshelf and sand from the nude section of Baker Beach.\" width=\"1200\" height=\"838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBOOKSBAKER.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBOOKSBAKER-400x279.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBOOKSBAKER-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBOOKSBAKER-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBOOKSBAKER-1180x824.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBOOKSBAKER-960x670.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Green’s bookshelf and sand from the nude section of Baker Beach. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But would I see all that on my own, without Green’s patient explanation of her research practice and reference points? Probably not.\u003c/p>\n\u003cp>“I recognize that a lot of the work that I’m doing is not immediately legible to most people, and the fact that I’m the person who’s drawing the threads means that it’s even less accessible. But I think that the intention is not to deliver information in a really explicit or didactic way.”\u003c/p>\n\u003cp>Ultimately, Green says, it’s about imbuing the glazed surfaces of her sculptures with an amalgamation of images and pattern that carries on the tradition of creating ornate ceramic objects. But buried in that glaze and sealed with extreme heat are references to queer and Jewish history, elements from a past that was not always preserved, because of whose story it told.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Under Green’s corrective hand, that past is newly preserved in ceramic, a material that lasts forever, as a record of Green’s own lived experience.\u003c/p>\n\n","blocks":[],"excerpt":"Like the hanky codes of the ‘70s and ‘80s and other modes of coded signaling of queerness, sculptor Nicki Green enjoys communicating subtle queer messages. “It's like, ‘I see you, and this is for you,’” she says.","status":"publish","parent":0,"modified":1705033417,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1349},"headData":{"title":"Bay Area Sculpture Right Now: Nicki Green's Talismans of Queer Subtlety | KQED","description":"Like the hanky codes of the ‘70s and ‘80s and other modes of coded signaling of queerness, sculptor Nicki Green enjoys communicating subtle queer messages. “It's like, ‘I see you, and this is for you,’” she says.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Sculpture Right Now: Nicki Green's Talismans of Queer Subtlety","datePublished":"2016-08-03T15:00:40.000Z","dateModified":"2024-01-12T04:23:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11888270/bay-area-sculpture-right-now-nicki-greens-talismans-of-queer-subtlety","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When artist \u003ca href=\"http://www.nickigreen.org/\" target=\"_blank\" rel=\"noopener\">Nicki Green\u003c/a> moved to San Francisco from New York to attend the San Francisco Art Institute, she knew she’d come to the right place. “I think I called my parents right after landing and was like, ‘This is it,’” she says. Strangers said hello here. The landscape was beautiful. Green had found her community.\u003c/p>\n\u003cp>“This city is so important to queer history,” Green says, sitting in her San Francisco ceramics studio. “I came out here to go to school but I also think that there was this really intentional desire to come here to be queer or be trans, and to be able to do that in a way that felt safe and comfortable.”\u003c/p>\n\u003cp>While enrolled at SFAI, Green honed her ceramics skills in the sculpture department, finishing her BFA in 2009 with a thesis show of slip-cast ceramic dildos, painted in delicate all-over patterns of blue on white glaze. Just a few remain intact in her studio today, and I get to hold one; it’s like an exquisite Delfware sex toy.\u003c/p>\n\u003cp>In the intervening years, Green’s work has taken different forms — from textiles to glazed bricks to fermentation crocks — each bearing Green’s intricate and illustrative patterning. In the studio, the thin blueish purple lines tracing her ceramic work appear simply decorative at first, but none of Green’s work is \u003cem>simply\u003c/em> anything. On the surfaces of vessels, hands hold pickles, make gestures of blessing, and perform medical procedures on human genitalia. Penises sprout from earthenware crocks, mushrooms bloom, and biblical figures immerse themselves in the ritual waters of the mikvah.\u003c/p>\n\u003cfigure id=\"attachment_11870061\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11870061\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/NickiGreenDESK.jpg\" alt=\"In Green's studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenDESK.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenDESK-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenDESK-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenDESK-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenDESK-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenDESK-960x641.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">In Green’s studio. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Green uses the form of functional objects as the conceptual basis of her work. A brick is a building material, yes, but it’s also a potential weapon. Jugs can hold tasty liquid, but also Molotov cocktails. And each of these objects offers up its surface as a vehicle for Green’s images, culled from wide-ranging research into mushrooms, Judaica, queer culture and local history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Green’s last big project before she starts at UC Berkeley’s MFA program in the fall is a series of commemorative mugs celebrating the 50th anniversary of the \u003ca href=\"http://ww2.kqed.org/arts/2016/07/21/in-66-on-one-hot-august-night-trans-women-fought-for-their-rights/\" target=\"_blank\" rel=\"noopener\">Compton’s Cafeteria riot\u003c/a>, the first known instance of collective queer resistance to police harassment in U.S. history. Windows were smashed, people spilled out onto the street, a corner newsstand was set ablaze — and it all started, Green notes, with a coffee mug. A trans woman, sick of the continued harassment she and her community faced at the hands of the SFPD, threw her coffee in the face of the officer who grabbed her arm. In an instant, tableware turned into DIY weaponry.\u003c/p>\n\u003cfigure id=\"attachment_11870063\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11870063\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/NickiGreenNICKI.jpg\" alt=\"Green working on the Compton's Cafeteria project.\" width=\"1200\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenNICKI.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenNICKI-400x183.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenNICKI-800x365.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenNICKI-768x351.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenNICKI-1180x539.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenNICKI-960x438.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Green working on the Compton’s Cafeteria project. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Green’s 50 editioned mugs, sourced from thrift stores around the city, go on display Aug. 16 at San Francisco’s \u003ca href=\"http://www.glbthistory.org/2016/07/26/comptons-riot-art-launch-and-artist-talk/\" target=\"_blank\" rel=\"noopener\">GLBT History Museum\u003c/a>, run by the GLBT Historical Society, which houses in its archives just one box of material on that little-known night. Even the specific date of the riot is lost to history; a violent uprising of San Francisco’s most marginalized citizens didn’t make the pages of a newspaper in August 1966.\u003c/p>\n\u003cp>“Maybe the folks of the Tenderloin, all of the queens and trans women and sex workers, were too busy surviving to think, ‘Let’s archive this,’” Green says of the original Compton’s Cafeteria mugs. “If those objects don’t exist anymore or we have no record of where they are, then as a trans person and as somebody who’s a part of this lineage, I can construct what has not been recognized, and that process mirrors the experience of trans self definition.”\u003c/p>\n\u003cp>While inserting her own objects into the archive of San Francisco queer history, Green also pulls from the material of the past to create new objects. Undecorated bricks labeled “Baker Beach” sit on her studio shelf. A bag of sand collected from the nude section of the beach rests beneath her work table. “If the brick is coming from San Francisco then it’s charged with this energy of the city and the history of the city,” she says. She plans to mix the Baker Beach sand into her earthenware sculptures, imbuing the crocks and urns with that same energy and history, even if it’s invisible to the viewer.\u003c/p>\n\u003cfigure id=\"attachment_11870062\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11870062\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/NickiGreenMUGS.jpg\" alt=\"Editioned mugs for Green's GLBT History Museum exhibition.\" width=\"1200\" height=\"791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenMUGS.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenMUGS-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenMUGS-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenMUGS-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenMUGS-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenMUGS-960x633.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Editioned mugs for Green’s GLBT History Museum exhibition. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With so many references and hidden histories at play in her work, Green admits a viewer’s experience depends on who they are. “On one hand there’s the covert nature of your experiencing this thing visually or even materially and you don’t understand it conceptually,” she says of her sculptures. “The point is that it’s not for anybody but the select few in the know to understand.”\u003c/p>\n\u003cp>Like the \u003ca href=\"https://en.wikipedia.org/wiki/Handkerchief_code\" target=\"_blank\" rel=\"noopener\">hanky codes of the ‘70s and ‘80s\u003c/a> and other modes of coded signaling of queerness, Green enjoys communicating certain messages to specific members of her community. “It’s like, ‘I see you, and this is for you,’” she says.\u003c/p>\n\u003cp>“The intention is not to alienate,” she adds, “but I also think that the preservation of community and material in the wink, wink, nudge, nudge of a covert exchange is really important to me.”\u003c/p>\n\u003cfigure id=\"attachment_11870060\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11870060\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/NickiGreenBRICKS.jpg\" alt=\"Glazed and unglazed found bricks on Green's studio shelves.\" width=\"1200\" height=\"887\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBRICKS.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBRICKS-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBRICKS-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBRICKS-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBRICKS-1180x872.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBRICKS-960x710.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Glazed and unglazed found bricks on Green’s studio shelves. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the process, her work has evolved to contain increasingly personal symbols. The proliferation of ripple-edged chanterelles on many of Green’s vessels is a departure from patterns made up of what she terms “queer flowers” — pansies, carnations or lavender. “The idea of replacing flowers with fungus felt like a very queer thing,” she says.\u003c/p>\n\u003cp>There was also her discovery, online, of a book titled \u003ci>The Poisonous Mushroom\u003c/i>, a piece of Nazi-era propaganda about hidden “Jewish” mushrooms laying in wait amongst the harmless edible mushrooms of the forest. The cover shows an anti-Semitic caricature of a bearded Jewish face under a mushroom cap.\u003c/p>\n\u003cp>“So much about the development of queer cultural iconography is about reclaiming derogatory concepts and images,” Green says. “So the idea of reclaiming the mushroom feels like this super-empowering thing.” To Green, mushrooms aren’t slimy, deadly fungi, they’re things of alien-like beauty. Their mycelial networks spread underground, helping forests receive nutrients.\u003c/p>\n\u003cfigure id=\"attachment_11870059\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11870059\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/NickiGreenBOOKSBAKER.jpg\" alt=\"Green's bookshelf and sand from the nude section of Baker Beach.\" width=\"1200\" height=\"838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBOOKSBAKER.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBOOKSBAKER-400x279.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBOOKSBAKER-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBOOKSBAKER-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBOOKSBAKER-1180x824.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/NickiGreenBOOKSBAKER-960x670.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Green’s bookshelf and sand from the nude section of Baker Beach. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But would I see all that on my own, without Green’s patient explanation of her research practice and reference points? Probably not.\u003c/p>\n\u003cp>“I recognize that a lot of the work that I’m doing is not immediately legible to most people, and the fact that I’m the person who’s drawing the threads means that it’s even less accessible. But I think that the intention is not to deliver information in a really explicit or didactic way.”\u003c/p>\n\u003cp>Ultimately, Green says, it’s about imbuing the glazed surfaces of her sculptures with an amalgamation of images and pattern that carries on the tradition of creating ornate ceramic objects. But buried in that glaze and sealed with extreme heat are references to queer and Jewish history, elements from a past that was not always preserved, because of whose story it told.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Under Green’s corrective hand, that past is newly preserved in ceramic, a material that lasts forever, as a record of Green’s own lived experience.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11888270/bay-area-sculpture-right-now-nicki-greens-talismans-of-queer-subtlety","authors":["61"],"series":["arts_1449"],"categories":["arts_70"],"tags":["arts_1119","arts_1118","arts_596"],"featImg":"arts_11869882","label":"arts_1449"},"arts_11658381":{"type":"posts","id":"arts_11658381","meta":{"index":"posts_1591205157","site":"arts","id":"11658381","score":null,"sort":[1465484412000]},"guestAuthors":[],"slug":"bay-area-sculpture-right-now-welcome-to-joey-enos-land","title":"Bay Area Sculpture Right Now: Welcome to Joey Enos Land","publishDate":1465484412,"format":"image","headTitle":"Bay Area Sculpture Right Now: Welcome to Joey Enos Land | KQED","labelTerm":{"term":1449,"site":"arts"},"content":"\u003cp>As a kid growing up in Alameda, \u003ca href=\"http://www.joeyenos.com/\" target=\"_blank\" rel=\"noopener\">Joey Enos\u003c/a> was obsessed with all things Disney. “I wrote letters to Michael Eisner as a kid, begging him for a job,” he says, slightly embarrassed, standing in his Oakland studio just off of Telegraph Avenue. \u003c/p>\n\u003cp>Sometimes, the budding artist sent more than letters: “I drew a picture of me at a drafting table, then I cut out a picture of Disney’s head, and I drew his hand on my shoulder, like he was proud of me,” Enos says. The Disney CEO mailed back a package thick with information on the studio’s productions, a dream come true for Enos, who thought everyone must be writing Eisner to line up future employment.\u003c/p>\n\u003cfigure id=\"attachment_11658537\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658537\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/StudioEntrance.jpg\" alt=\"The former carriage house that houses Enos' studio (door ajar) downstairs and his home upstairs.\" width=\"1200\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-400x184.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-768x353.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-1180x542.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-960x441.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The former carriage house containing Enos’ studio (door ajar) and his home. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When not pitching his talents to animation bigwigs, Enos spent his childhood and teen years visiting Oakland’s \u003ca href=\"http://fairyland.org/\" target=\"_blank\" rel=\"noopener\">Children’s Fairyland\u003c/a>, working on hot rods and drawing. He studied at both the School of the Art Institute of Chicago and the San Francisco Art Institute, getting his MFA from UC Berkeley in 2015. His influences tend toward a certain kind of fantastic world-making: Disney and Warner Bros. animation, theme parks, roadside attractions and the \u003ca href=\"http://chicagoimagists.com/\" target=\"_blank\" rel=\"noopener\">Chicago Imagists\u003c/a>.\u003c/p>\n\u003cp>Enos makes his sculptures with simple materials — carved foam and layers of paint — to resemble column-like combinations of weathered planks, giant spikes, riveted sheets of metal and discarded tires. His art has an overexaggerated quality, like the clapboard architecture seen in Looney Tunes cartoons from the golden age of animation.\u003c/p>\n\u003cfigure id=\"attachment_11658539\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658539\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/TapesSHapes.jpg\" alt=\"VHS tapes and foam sculptures in Enos' studio.\" width=\"1200\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-1180x881.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-960x717.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">VHS tapes and foam sculptures in Enos’ studio. \u003ccite>(Photo: Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His outdoor sculptures are covered in a hardy Polyurea coating to protect their lightweight foam insides. Three recently weathered nearly a year at Paradise Ridge Winery outside of Santa Rosa, for the group exhibition \u003ci>\u003ca href=\"http://celebratesculpture.com/conversations-in-sculpture/\" target=\"_blank\" rel=\"noopener\">Conversations in Sculpture\u003c/a>\u003c/i>. Those red, blue and yellow pieces, now returned, line the vegetable-turned-wildflower garden outside Enos’ home, towering over the neighbor’s fence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I always joked that I’m color blind,” Enos says. “I just think that I have low-class taste in color.” Most of his works in the studio are covered in vibrant hues of turquoise, fuchsia, gold and pink, a palette straight out of Children’s Fairyland. But instead of an old woman’s shoe, the colors coat ramshackle, slightly demented constructions from his own imagination.\u003c/p>\n\u003cfigure id=\"attachment_11658536\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11658536 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Outside.jpg\" alt=\"Three outdoor sculptures recently returned from a show near Santa Rosa.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Three outdoor sculptures recently returned from a show near Santa Rosa. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Airbrushing adds faux highlights and shadows to the sculptures, an effect Enos says comes from both hot-rod paint finishes and the close study — these days — of \u003ca href=\"https://youtu.be/Hplf6IeWiZg\" target=\"_blank\" rel=\"noopener\">nail art effects\u003c/a>. Flocking, all the rage on fingernails these days, might be his next material experiment in the studio.\u003c/p>\n\u003cp>Repurposing parts of old sculptures in his new work, Enos’ trompe l’oeil wooden boards accumulate layers of paint, expandable foam and glue. The foam starts to act like the real material it mimics, documenting its history of use and Enos’ own part in manipulating it. One piece he shows us clearly sports a boot print.\u003c/p>\n\u003cfigure id=\"attachment_11658540\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658540\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/WoodNails.jpg\" alt=\"Painted foam sculpture in Enos' studio.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Painted foam sculpture in Enos’ studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laying bare his process is also about owning his own methods. “I could never make something as perfect as somebody else,” he says, “but the particulars of me making it fucked up, no one else can do. No one can make it dirty as much as I can.”\u003c/p>\n\u003cp>Despite this assertion, Enos’ sculptures look purposeful rather than provisional. Together, the visual language of his foam slices, cheerful colors and catawampus combinations start to look like props for a Joey Enos-produced children’s television show. Or, better yet, models for a Joey Enos-fabricated theme park.\u003c/p>\n\u003cfigure id=\"attachment_11658534\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/FoamHands.jpg\" alt=\"A stack of materials and a painted foam sculpture repurposed from previous works.\" width=\"1200\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-1180x881.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-960x717.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A stack of materials and a painted foam sculpture repurposed from previous works. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, as if he wasn’t busy enough preparing for a solo show opening July 9 at Healdsburg’s \u003ca href=\"http://gallery.hammerfriar.com/\" target=\"_blank\" rel=\"noopener\">Hammerfriar Gallery\u003c/a>, Enos just published his \u003ca href=\"https://evilleeye.com/history/origins-first-three-part-series-history-emeryville-mudflat-sculptures/\" target=\"_blank\" rel=\"noopener\">first article\u003c/a> in a three-part series on the history of the Emeryville Mudflats sculptures.\u003c/p>\n\u003cp>Enos has every reason to be attracted to the Emeryville Mudflats, which in the 1960s was a mere wasteland of space by the side of the freeway approaching the Bay Bridge. After an initial ad hoc sculpture popped up (accounts differ as to who was responsible for the first installation, though Enos likes \u003ca href=\"http://www.davidzwirner.com/artists/john-mccracken/\" target=\"_blank\" rel=\"noopener\">John McCracken\u003c/a> for it), the Mudflats became a venue for anonymous public art.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" link=\"none\" ids=\"11658699,11658697,11658631,11658695,11658602,11658640,11658675,11658694,11658696,11658698,11658700,11658701,11658702,11658705\"]\u003c/p>\n\u003cp>The lawless space for free expression lasted for about 30 years. Enos’ mother actually announced her pregnancy to his father \u003ci>at\u003c/i> the Mudflats. “It was really kicking in the ’70s,” Enos says of the Mudflats’ visiting sculptors. “Technically, they were trespassing, but no one bothered them. Emeryville loved it, because it made them look classy.” \u003c/p>\n\u003cp>Something else speaks to Enos about the Mudflats: it proved anybody could make public art, or augment it and make it their own. Even if academically-trained artists kicked it off, ordinary people and folk artists were the ones who kept the space alive — until Caltrans spent millions airlifting all the wood from the site in the ’90s.\u003c/p>\n\u003cfigure id=\"attachment_11658542\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658542\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MudflatCover.jpg\" alt=\"The worktable in Enos' studio, William Jackson's 'Mudflat Art.'\" width=\"1200\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-400x184.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-768x353.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-1180x542.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-960x441.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The worktable in Enos’ studio, William Jackson’s ‘Mudflat Art.’ \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m really into this idea that people showed up in California and they had this beautiful Italian-esque landscape around them and they were like, ‘You know what this needs? A giant artichoke! You know what this needs? A giant igloo in the desert!’” Enos says. “Making your own world, by any means necessary, is really interesting to me.”\u003c/p>\n\u003cfigure id=\"attachment_11658538\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/StudioView.jpg\" alt=\"Inside Enos' studio.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inside Enos’ studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few days after our visit at Enos’ studio, he emails me to say, “I had a revelation.”\u003c/p>\n\u003cp>“I was driving to the beach in Alameda,” he writes, “past classic Victorians, Edwardian architecture, down a Midwestern Americana ‘Main Street,’ past Mission-style homes and into a designed Southern California landscape of sand and palm trees.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And it hit me… I grew up in a theme park!”\u003c/p>\n\n","blocks":[],"excerpt":"A visit to the sculptor's Oakland studio yields painted foam constructions plucked straight out of a cartoon world of the artist's own imagining.","status":"publish","parent":0,"modified":1705033962,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":true,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1107},"headData":{"title":"Bay Area Sculpture Right Now: Welcome to Joey Enos Land | KQED","description":"A visit to the sculptor's Oakland studio yields painted foam constructions plucked straight out of a cartoon world of the artist's own imagining.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Sculpture Right Now: Welcome to Joey Enos Land","datePublished":"2016-06-09T15:00:12.000Z","dateModified":"2024-01-12T04:32:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11658381/bay-area-sculpture-right-now-welcome-to-joey-enos-land","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a kid growing up in Alameda, \u003ca href=\"http://www.joeyenos.com/\" target=\"_blank\" rel=\"noopener\">Joey Enos\u003c/a> was obsessed with all things Disney. “I wrote letters to Michael Eisner as a kid, begging him for a job,” he says, slightly embarrassed, standing in his Oakland studio just off of Telegraph Avenue. \u003c/p>\n\u003cp>Sometimes, the budding artist sent more than letters: “I drew a picture of me at a drafting table, then I cut out a picture of Disney’s head, and I drew his hand on my shoulder, like he was proud of me,” Enos says. The Disney CEO mailed back a package thick with information on the studio’s productions, a dream come true for Enos, who thought everyone must be writing Eisner to line up future employment.\u003c/p>\n\u003cfigure id=\"attachment_11658537\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658537\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/StudioEntrance.jpg\" alt=\"The former carriage house that houses Enos' studio (door ajar) downstairs and his home upstairs.\" width=\"1200\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-400x184.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-768x353.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-1180x542.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioEntrance-960x441.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The former carriage house containing Enos’ studio (door ajar) and his home. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When not pitching his talents to animation bigwigs, Enos spent his childhood and teen years visiting Oakland’s \u003ca href=\"http://fairyland.org/\" target=\"_blank\" rel=\"noopener\">Children’s Fairyland\u003c/a>, working on hot rods and drawing. He studied at both the School of the Art Institute of Chicago and the San Francisco Art Institute, getting his MFA from UC Berkeley in 2015. His influences tend toward a certain kind of fantastic world-making: Disney and Warner Bros. animation, theme parks, roadside attractions and the \u003ca href=\"http://chicagoimagists.com/\" target=\"_blank\" rel=\"noopener\">Chicago Imagists\u003c/a>.\u003c/p>\n\u003cp>Enos makes his sculptures with simple materials — carved foam and layers of paint — to resemble column-like combinations of weathered planks, giant spikes, riveted sheets of metal and discarded tires. His art has an overexaggerated quality, like the clapboard architecture seen in Looney Tunes cartoons from the golden age of animation.\u003c/p>\n\u003cfigure id=\"attachment_11658539\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658539\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/TapesSHapes.jpg\" alt=\"VHS tapes and foam sculptures in Enos' studio.\" width=\"1200\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-1180x881.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/TapesSHapes-960x717.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">VHS tapes and foam sculptures in Enos’ studio. \u003ccite>(Photo: Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His outdoor sculptures are covered in a hardy Polyurea coating to protect their lightweight foam insides. Three recently weathered nearly a year at Paradise Ridge Winery outside of Santa Rosa, for the group exhibition \u003ci>\u003ca href=\"http://celebratesculpture.com/conversations-in-sculpture/\" target=\"_blank\" rel=\"noopener\">Conversations in Sculpture\u003c/a>\u003c/i>. Those red, blue and yellow pieces, now returned, line the vegetable-turned-wildflower garden outside Enos’ home, towering over the neighbor’s fence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I always joked that I’m color blind,” Enos says. “I just think that I have low-class taste in color.” Most of his works in the studio are covered in vibrant hues of turquoise, fuchsia, gold and pink, a palette straight out of Children’s Fairyland. But instead of an old woman’s shoe, the colors coat ramshackle, slightly demented constructions from his own imagination.\u003c/p>\n\u003cfigure id=\"attachment_11658536\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11658536 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Outside.jpg\" alt=\"Three outdoor sculptures recently returned from a show near Santa Rosa.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Outside-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Three outdoor sculptures recently returned from a show near Santa Rosa. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Airbrushing adds faux highlights and shadows to the sculptures, an effect Enos says comes from both hot-rod paint finishes and the close study — these days — of \u003ca href=\"https://youtu.be/Hplf6IeWiZg\" target=\"_blank\" rel=\"noopener\">nail art effects\u003c/a>. Flocking, all the rage on fingernails these days, might be his next material experiment in the studio.\u003c/p>\n\u003cp>Repurposing parts of old sculptures in his new work, Enos’ trompe l’oeil wooden boards accumulate layers of paint, expandable foam and glue. The foam starts to act like the real material it mimics, documenting its history of use and Enos’ own part in manipulating it. One piece he shows us clearly sports a boot print.\u003c/p>\n\u003cfigure id=\"attachment_11658540\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658540\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/WoodNails.jpg\" alt=\"Painted foam sculpture in Enos' studio.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/WoodNails-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Painted foam sculpture in Enos’ studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laying bare his process is also about owning his own methods. “I could never make something as perfect as somebody else,” he says, “but the particulars of me making it fucked up, no one else can do. No one can make it dirty as much as I can.”\u003c/p>\n\u003cp>Despite this assertion, Enos’ sculptures look purposeful rather than provisional. Together, the visual language of his foam slices, cheerful colors and catawampus combinations start to look like props for a Joey Enos-produced children’s television show. Or, better yet, models for a Joey Enos-fabricated theme park.\u003c/p>\n\u003cfigure id=\"attachment_11658534\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/FoamHands.jpg\" alt=\"A stack of materials and a painted foam sculpture repurposed from previous works.\" width=\"1200\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-1180x881.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/FoamHands-960x717.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A stack of materials and a painted foam sculpture repurposed from previous works. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, as if he wasn’t busy enough preparing for a solo show opening July 9 at Healdsburg’s \u003ca href=\"http://gallery.hammerfriar.com/\" target=\"_blank\" rel=\"noopener\">Hammerfriar Gallery\u003c/a>, Enos just published his \u003ca href=\"https://evilleeye.com/history/origins-first-three-part-series-history-emeryville-mudflat-sculptures/\" target=\"_blank\" rel=\"noopener\">first article\u003c/a> in a three-part series on the history of the Emeryville Mudflats sculptures.\u003c/p>\n\u003cp>Enos has every reason to be attracted to the Emeryville Mudflats, which in the 1960s was a mere wasteland of space by the side of the freeway approaching the Bay Bridge. After an initial ad hoc sculpture popped up (accounts differ as to who was responsible for the first installation, though Enos likes \u003ca href=\"http://www.davidzwirner.com/artists/john-mccracken/\" target=\"_blank\" rel=\"noopener\">John McCracken\u003c/a> for it), the Mudflats became a venue for anonymous public art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"gallery","attributes":{"named":{"type":"slideshow","link":"none","ids":"11658699,11658697,11658631,11658695,11658602,11658640,11658675,11658694,11658696,11658698,11658700,11658701,11658702,11658705","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lawless space for free expression lasted for about 30 years. Enos’ mother actually announced her pregnancy to his father \u003ci>at\u003c/i> the Mudflats. “It was really kicking in the ’70s,” Enos says of the Mudflats’ visiting sculptors. “Technically, they were trespassing, but no one bothered them. Emeryville loved it, because it made them look classy.” \u003c/p>\n\u003cp>Something else speaks to Enos about the Mudflats: it proved anybody could make public art, or augment it and make it their own. Even if academically-trained artists kicked it off, ordinary people and folk artists were the ones who kept the space alive — until Caltrans spent millions airlifting all the wood from the site in the ’90s.\u003c/p>\n\u003cfigure id=\"attachment_11658542\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658542\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/MudflatCover.jpg\" alt=\"The worktable in Enos' studio, William Jackson's 'Mudflat Art.'\" width=\"1200\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-400x184.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-768x353.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-1180x542.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/MudflatCover-960x441.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The worktable in Enos’ studio, William Jackson’s ‘Mudflat Art.’ \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m really into this idea that people showed up in California and they had this beautiful Italian-esque landscape around them and they were like, ‘You know what this needs? A giant artichoke! You know what this needs? A giant igloo in the desert!’” Enos says. “Making your own world, by any means necessary, is really interesting to me.”\u003c/p>\n\u003cfigure id=\"attachment_11658538\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11658538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/StudioView.jpg\" alt=\"Inside Enos' studio.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/StudioView-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Inside Enos’ studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few days after our visit at Enos’ studio, he emails me to say, “I had a revelation.”\u003c/p>\n\u003cp>“I was driving to the beach in Alameda,” he writes, “past classic Victorians, Edwardian architecture, down a Midwestern Americana ‘Main Street,’ past Mission-style homes and into a designed Southern California landscape of sand and palm trees.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And it hit me… I grew up in a theme park!”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11658381/bay-area-sculpture-right-now-welcome-to-joey-enos-land","authors":["61"],"series":["arts_1449"],"categories":["arts_70"],"tags":["arts_1119","arts_1118","arts_596"],"featImg":"arts_11663398","label":"arts_1449"},"arts_11464326":{"type":"posts","id":"arts_11464326","meta":{"index":"posts_1591205157","site":"arts","id":"11464326","score":null,"sort":[1460041252000]},"guestAuthors":[],"slug":"bay-area-painting-right-now-sofie-ramos-is-never-quite-finished","title":"Bay Area Painting Right Now: Sofie Ramos Is Never Quite Finished","publishDate":1460041252,"format":"image","headTitle":"Bay Area Painting Right Now: Sofie Ramos Is Never Quite Finished | KQED","labelTerm":{"term":1449,"site":"arts"},"content":"\u003cp>In February, a couple days after making a date to visit Oakland painter \u003ca href=\"http://www.sofieramos.com/SOFIE_RAMOS_ART/SOFIE_RAMOS_ART.html\" target=\"_blank\" rel=\"noopener\">Sofie Ramos\u003c/a>’ studio, I went to a poetry reading at \u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>. I sat next to \u003ca href=\"http://epc.buffalo.edu/authors/hejinian/\" target=\"_blank\" rel=\"noopener\">Lyn Hejinian\u003c/a>, who read that evening, and saw that she held in her hands galleys of her newest book, \u003cem>\u003ca href=\"http://www.omnidawn.com/products-page/current-books-no-upcoming-books/the-unfollowinglyn-hejinian/\" target=\"_blank\" rel=\"noopener\">The Unfollowing\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Greedy, I asked if I could see it — and was immediately drawn to the cover: a wild collage with rich texture and vibrant pastels. “Who did this cover?” I asked. Lyn told me, “An artist named Sofie Ramos.” I sighed and smiled at the same time, in love with the world for being so stupidly coherent.\u003c/p>\n\u003cp>But this wasn’t actually just coincidence, I found when I visited Ramos in her West Oakland studio inside the \u003ca href=\"http://ctrlshftcollective.com/\" target=\"_blank\" rel=\"noopener\">CTRL+SHFT\u003c/a> collective. I mentioned my encounter with Hejinian, and Ramos eagerly referenced her book \u003cem>The Language of Inquiry\u003c/em> and one of its key texts, \u003ca href=\"https://books.google.com/books?id=DjybgBhPtF0C&lpg=PP1&pg=PA87#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener\">“Rejection of Closure.”\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11470987\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11470987\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SofieRamos_16_1200.jpg\" alt=\"Collage materials in Sofie Ramos' studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_16_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_16_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_16_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_16_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_16_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_16_1200-960x641.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Collage materials in Sofie Ramos’ studio. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Rejection of Closure” is a classic argument against the conventional shape of a certain kind of mainstream poem (Hejinian calls them “smug lyric poems”). The poet in these “smug lyric poems,” shares a couple of sentiments, has an epiphany and finishes by tying the string on the whole sequence with a pat ending. The gravitas in such moments is optional but inevitably banal.\u003c/p>\n\u003cp>In Hejinian’s essay, works are praised, on the other hand, for their resistance to easily determined meanings. Open texts invite participation and reject the hierarchical scenario by which a reader comes to the text to experience a series of meaningful propositions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/128521321?color=ffffff&portrait=0\" width=\"800\" height=\"533\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Indeed, even the hierarchy of a work being “finished” is contested: “the implication (correct) is that the words and the ideas… continue beyond the work. One has simply stopped because one has run out of units or minutes, and not because a conclusion has been reached nor everything said.”\u003c/p>\n\u003cp>In Ramos’ practice, process is emphasized over progress. That is, her paintings, collages and installations don’t seem to be ever quite finished, not even when they move from the walls of the studio (where artworks are supposed to live until they enter the exhibition space) to the walls of the gallery (where they are supposed to become a commodity.)\u003c/p>\n\u003cp>In her studio, we watch a stop-motion video Ramos made using footage from her MFA thesis exhibition. The swiftly moving video shows the transformations Ramos made to the installation over the duration of the show. The individual elements in the installation are constantly in flux, as is the overall arrangement of the paintings and collages inside it.\u003c/p>\n\u003cfigure id=\"attachment_11470994\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11470994\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SofieRamos_PartyHat.jpg\" alt=\"Sofie Ramos' materials at left and 'party hat' at right.\" width=\"1200\" height=\"889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_PartyHat.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_PartyHat-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_PartyHat-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_PartyHat-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_PartyHat-1180x874.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_PartyHat-960x711.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sofie Ramos’ materials at left and ‘pipe cleaner painting’ at right. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To further underscore the emphasis on the unfinished in Ramos’ work, she explains that her titles are always working titles, and frequently change. Her titles also eschew capitalization. She explains that lower-case titles “point to the transient and transformative nature of both the title and the work, and also to try to keep them in the realm of everyday objects rather than elevating them as proper nouns.” It’s as if the proper noun is the emblem of a fine art market, a domain her strident devotion to contingency and changing contexts refuses.\u003c/p>\n\u003cp>While the “closure” of traditional narrative and forms of meaning-making are rejected in Ramos’ work, her paintings are enormously expressive — they include not only a lot of information but a lot of play. In what is now known as \u003cem>pipe cleaner painting\u003c/em>, two canvases are affixed to each other. The minimal and austere lines of the top painting are countered by its bright pink and red colors, subtle variations in the thickness of the lines and the rings atop the canvas which Ramos says, that day, read as “eyelashes.” As we talk, I begin to see how the two paintings do suggest a funny and gruesome face.\u003c/p>\n\u003cfigure id=\"attachment_11470995\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11470995\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SofieRamos_10_1200.jpg\" alt=\"Sofie Ramos, 'party hat painting' at left and untitled painting at right.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_10_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_10_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_10_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_10_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_10_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_10_1200-960x641.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sofie Ramos, ‘party hat painting’ at left and untitled painting at right. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>party hat painting\u003c/em>, Ramos has affixed three separate canvases to each other. The largest grounds the succession of canvasses, which form an awkward, rhythmic column. Each canvas has a totally distinct compositional field. Bright circles against dark green suggest polka dots. In the middle, a more textured and rich blue background is crossed by intersecting yellow lines — it’s a change in mood as much as a departure into a distinct geometry. Finally, a triangle-shaped canvas crowns the composition — the party hat! This smaller canvas is partially covered with the pattern of a standard red and white tablecloth, a material both familiar and, in Ramos’ pictorial economy, quite strange.\u003c/p>\n\u003cp>Like \u003cem>Bay Area Painting Right Now\u003c/em> alum \u003ca href=\"http://ww2.kqed.org/arts/2016/03/07/bay-area-painting-right-now-sam-spanos-blissful-interiors/\" target=\"_blank\" rel=\"noopener\">Sam Spano\u003c/a>, Ramos invests in the “domestic” as a trope in her work. But where Spano conceived of a new palette derived from gustatory pleasure, and symbolic animal avatars for his changing moods, Ramos’ paintings approach the economy of “home” more literally. For one, her paintings are often made with acrylic house paint. Capitalizing on the thinness of such paint, Ramos accrues layer after layer, the thin material gaining density while embedding the repetition of her brush.\u003c/p>\n\u003cfigure id=\"attachment_11470990\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11470990\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SofieRamos_BathMat.jpg\" alt=\"Sofie Ramos, 'bath mat painting,' 2016.\" width=\"1200\" height=\"889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_BathMat.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_BathMat-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_BathMat-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_BathMat-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_BathMat-1180x874.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_BathMat-960x711.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sofie Ramos, ‘bath mat painting,’ 2016. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One painting in progress, which Ramos tentatively titles \u003cem>bath mat painting\u003c/em>, literally appropriates a household object: an ordinary bath mat, which Ramos paints with successive layers of bold blue house paint. The effect is a richly textured painting, the materials hearkening to something so ordinary it’s finally quite strange.\u003c/p>\n\u003cp>Together, we talked about lived spaces and the weird way that they “have” history, a history that isn’t as much narrative as it is accretion over the years, like the successive layers of blue paint on the bathmat. No one has ever said, probably, “If this bath mat could talk…” but this is the extended meaning of Ramos’ use of such objects.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>History, like the poem, like the painting, seduces us with a promise of coherence we have to negotiate as artists or readers. Turning to face Sofie Ramos’ works is not an encounter with the smug, pat shape of a normal poem, a normal story. Her works are nimble, moving and open.\u003c/p>\n\n","blocks":[],"excerpt":"For the final installment of \"Bay Area Painting Right Now,\" we visit the West Oakland studio of Sofie Ramos.","status":"publish","parent":0,"modified":1705044645,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1122},"headData":{"title":"Bay Area Painting Right Now: Sofie Ramos Is Never Quite Finished | KQED","description":"For the final installment of "Bay Area Painting Right Now," we visit the West Oakland studio of Sofie Ramos.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Painting Right Now: Sofie Ramos Is Never Quite Finished","datePublished":"2016-04-07T15:00:52.000Z","dateModified":"2024-01-12T07:30:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11464326/bay-area-painting-right-now-sofie-ramos-is-never-quite-finished","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In February, a couple days after making a date to visit Oakland painter \u003ca href=\"http://www.sofieramos.com/SOFIE_RAMOS_ART/SOFIE_RAMOS_ART.html\" target=\"_blank\" rel=\"noopener\">Sofie Ramos\u003c/a>’ studio, I went to a poetry reading at \u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>. I sat next to \u003ca href=\"http://epc.buffalo.edu/authors/hejinian/\" target=\"_blank\" rel=\"noopener\">Lyn Hejinian\u003c/a>, who read that evening, and saw that she held in her hands galleys of her newest book, \u003cem>\u003ca href=\"http://www.omnidawn.com/products-page/current-books-no-upcoming-books/the-unfollowinglyn-hejinian/\" target=\"_blank\" rel=\"noopener\">The Unfollowing\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Greedy, I asked if I could see it — and was immediately drawn to the cover: a wild collage with rich texture and vibrant pastels. “Who did this cover?” I asked. Lyn told me, “An artist named Sofie Ramos.” I sighed and smiled at the same time, in love with the world for being so stupidly coherent.\u003c/p>\n\u003cp>But this wasn’t actually just coincidence, I found when I visited Ramos in her West Oakland studio inside the \u003ca href=\"http://ctrlshftcollective.com/\" target=\"_blank\" rel=\"noopener\">CTRL+SHFT\u003c/a> collective. I mentioned my encounter with Hejinian, and Ramos eagerly referenced her book \u003cem>The Language of Inquiry\u003c/em> and one of its key texts, \u003ca href=\"https://books.google.com/books?id=DjybgBhPtF0C&lpg=PP1&pg=PA87#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener\">“Rejection of Closure.”\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11470987\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11470987\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SofieRamos_16_1200.jpg\" alt=\"Collage materials in Sofie Ramos' studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_16_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_16_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_16_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_16_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_16_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_16_1200-960x641.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Collage materials in Sofie Ramos’ studio. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Rejection of Closure” is a classic argument against the conventional shape of a certain kind of mainstream poem (Hejinian calls them “smug lyric poems”). The poet in these “smug lyric poems,” shares a couple of sentiments, has an epiphany and finishes by tying the string on the whole sequence with a pat ending. The gravitas in such moments is optional but inevitably banal.\u003c/p>\n\u003cp>In Hejinian’s essay, works are praised, on the other hand, for their resistance to easily determined meanings. Open texts invite participation and reject the hierarchical scenario by which a reader comes to the text to experience a series of meaningful propositions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/128521321?color=ffffff&portrait=0\" width=\"800\" height=\"533\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Indeed, even the hierarchy of a work being “finished” is contested: “the implication (correct) is that the words and the ideas… continue beyond the work. One has simply stopped because one has run out of units or minutes, and not because a conclusion has been reached nor everything said.”\u003c/p>\n\u003cp>In Ramos’ practice, process is emphasized over progress. That is, her paintings, collages and installations don’t seem to be ever quite finished, not even when they move from the walls of the studio (where artworks are supposed to live until they enter the exhibition space) to the walls of the gallery (where they are supposed to become a commodity.)\u003c/p>\n\u003cp>In her studio, we watch a stop-motion video Ramos made using footage from her MFA thesis exhibition. The swiftly moving video shows the transformations Ramos made to the installation over the duration of the show. The individual elements in the installation are constantly in flux, as is the overall arrangement of the paintings and collages inside it.\u003c/p>\n\u003cfigure id=\"attachment_11470994\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11470994\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SofieRamos_PartyHat.jpg\" alt=\"Sofie Ramos' materials at left and 'party hat' at right.\" width=\"1200\" height=\"889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_PartyHat.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_PartyHat-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_PartyHat-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_PartyHat-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_PartyHat-1180x874.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_PartyHat-960x711.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sofie Ramos’ materials at left and ‘pipe cleaner painting’ at right. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To further underscore the emphasis on the unfinished in Ramos’ work, she explains that her titles are always working titles, and frequently change. Her titles also eschew capitalization. She explains that lower-case titles “point to the transient and transformative nature of both the title and the work, and also to try to keep them in the realm of everyday objects rather than elevating them as proper nouns.” It’s as if the proper noun is the emblem of a fine art market, a domain her strident devotion to contingency and changing contexts refuses.\u003c/p>\n\u003cp>While the “closure” of traditional narrative and forms of meaning-making are rejected in Ramos’ work, her paintings are enormously expressive — they include not only a lot of information but a lot of play. In what is now known as \u003cem>pipe cleaner painting\u003c/em>, two canvases are affixed to each other. The minimal and austere lines of the top painting are countered by its bright pink and red colors, subtle variations in the thickness of the lines and the rings atop the canvas which Ramos says, that day, read as “eyelashes.” As we talk, I begin to see how the two paintings do suggest a funny and gruesome face.\u003c/p>\n\u003cfigure id=\"attachment_11470995\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11470995\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SofieRamos_10_1200.jpg\" alt=\"Sofie Ramos, 'party hat painting' at left and untitled painting at right.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_10_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_10_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_10_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_10_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_10_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_10_1200-960x641.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sofie Ramos, ‘party hat painting’ at left and untitled painting at right. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>party hat painting\u003c/em>, Ramos has affixed three separate canvases to each other. The largest grounds the succession of canvasses, which form an awkward, rhythmic column. Each canvas has a totally distinct compositional field. Bright circles against dark green suggest polka dots. In the middle, a more textured and rich blue background is crossed by intersecting yellow lines — it’s a change in mood as much as a departure into a distinct geometry. Finally, a triangle-shaped canvas crowns the composition — the party hat! This smaller canvas is partially covered with the pattern of a standard red and white tablecloth, a material both familiar and, in Ramos’ pictorial economy, quite strange.\u003c/p>\n\u003cp>Like \u003cem>Bay Area Painting Right Now\u003c/em> alum \u003ca href=\"http://ww2.kqed.org/arts/2016/03/07/bay-area-painting-right-now-sam-spanos-blissful-interiors/\" target=\"_blank\" rel=\"noopener\">Sam Spano\u003c/a>, Ramos invests in the “domestic” as a trope in her work. But where Spano conceived of a new palette derived from gustatory pleasure, and symbolic animal avatars for his changing moods, Ramos’ paintings approach the economy of “home” more literally. For one, her paintings are often made with acrylic house paint. Capitalizing on the thinness of such paint, Ramos accrues layer after layer, the thin material gaining density while embedding the repetition of her brush.\u003c/p>\n\u003cfigure id=\"attachment_11470990\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11470990\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SofieRamos_BathMat.jpg\" alt=\"Sofie Ramos, 'bath mat painting,' 2016.\" width=\"1200\" height=\"889\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_BathMat.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_BathMat-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_BathMat-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_BathMat-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_BathMat-1180x874.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SofieRamos_BathMat-960x711.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Sofie Ramos, ‘bath mat painting,’ 2016. \u003ccite>(Photo: Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One painting in progress, which Ramos tentatively titles \u003cem>bath mat painting\u003c/em>, literally appropriates a household object: an ordinary bath mat, which Ramos paints with successive layers of bold blue house paint. The effect is a richly textured painting, the materials hearkening to something so ordinary it’s finally quite strange.\u003c/p>\n\u003cp>Together, we talked about lived spaces and the weird way that they “have” history, a history that isn’t as much narrative as it is accretion over the years, like the successive layers of blue paint on the bathmat. No one has ever said, probably, “If this bath mat could talk…” but this is the extended meaning of Ramos’ use of such objects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>History, like the poem, like the painting, seduces us with a promise of coherence we have to negotiate as artists or readers. Turning to face Sofie Ramos’ works is not an encounter with the smug, pat shape of a normal poem, a normal story. Her works are nimble, moving and open.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11464326/bay-area-painting-right-now-sofie-ramos-is-never-quite-finished","authors":["8622"],"series":["arts_1449"],"categories":["arts_70"],"tags":["arts_1119","arts_1118","arts_596"],"featImg":"arts_11470164","label":"arts_1449"},"arts_11376944":{"type":"posts","id":"arts_11376944","meta":{"index":"posts_1591205157","site":"arts","id":"11376944","score":null,"sort":[1457366402000]},"guestAuthors":[],"slug":"bay-area-painting-right-now-sam-spanos-blissful-interiors","title":"Bay Area Painting Right Now: Sam Spano's Blissful Interiors","publishDate":1457366402,"format":"image","headTitle":"Bay Area Painting Right Now: Sam Spano’s Blissful Interiors | KQED","labelTerm":{"term":1449,"site":"arts"},"content":"\u003cp>In January 2016, Oakland’s City Limits held a \u003ca href=\"http://www.curiouslydirect.com/#!Cutty-Limits-Whose-Child-Is-This/c95u/5696e31a0cf263fc5a89ec07\" target=\"_blank\" rel=\"noopener\">one-night-only exhibition\u003c/a> of new works by several artists, including \u003cem>Bay Area Painting Right Now\u003c/em> alumna\u003ca href=\"http://ww2.kqed.org/arts/2015/07/30/bay-area-painting-right-now-lana-williams-breaks-the-rules/\" target=\"_blank\" rel=\"noopener\"> Lana Williams\u003c/a>. It was a terrific show; I hope you saw it! But while several pieces stayed on my mind over the following days, the one I still can’t get over is \u003ca href=\"http://www.samspano.com/\" target=\"_blank\" rel=\"noopener\">Sam Spano\u003c/a>’s \u003cem>In The Realm Of The Senses.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11385041\" class=\"wp-caption alignright\" style=\"max-width: 619px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop.jpg\" alt=\"Sam Spano, ‘In The Realm of the Senses,’ 2015.\" width=\"619\" height=\"640\" class=\"size-full wp-image-11385041\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop.jpg 619w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop-400x414.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop-580x600.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop-32x32.jpg 32w\" sizes=\"(max-width: 619px) 100vw, 619px\">\u003cfigcaption class=\"wp-caption-text\">Sam Spano, ‘In The Realm of the Senses,’ 2015. \u003ccite>(Photo: Kristine Eudey; Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>In The Realm Of The Senses\u003c/em> is a sculpture of a dog in lotus pose sitting on a black platform on top of a decorative rug. The dog’s eyes are closed tightly; it assumes the serene concentration befitting its quest for peace. And yet, in Spano’s installation, the dog meditates in front of a mirror. Does the dog’s focus stray so it can sneak a peek? Does it admire its own transcendental bliss in action?\u003c/p>\n\u003cp>Spano purchased the figure online and painted on its surface. The rug and the mirror imbue the dog with a certain glamor, a kind of splendid Cali narcissism we hardly ever associate with loyal, cuddly canines.\u003c/p>\n\u003cp>\u003cem>In The Realm Of the Senses\u003c/em> is funny, of course. But it also cues key themes pervasive in Spano’s work: pleasure, the domestic, and the coincidence of the two.\u003c/p>\n\u003cp>The pleasure of the interior, which of course includes meals and snacks, is a fundamental influence on every element of his painting, starting with color. Spano’s paints and brushes lie on a small table in his studio. Above it, on the wall, are three list poems, descending nouns with stray adjectives. Each phrase corresponds to an idea of color. And it’s true, each is an inimitable visual experience.\u003c/p>\n\u003cfigure id=\"attachment_11376951\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/samspano_list.jpg\" alt=\"Color list poems in the studio.\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-11376951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-960x640.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Color list poems in the studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Take “chocolate pudding” for instance. Yes, it’s dark brown. But it’s also sui generis, chocolate pudding unto itself — more a jiggly feeling than a fact of light. This is the conceptual apparatus underlying Spano’s canvasses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most of the conceptual colors on these lists are edible or potable. Spano’s association of color with comestibles underscores his work’s grounding in domestic themes. But it’s not just the sensible and gustatory memory of food and drink behind his feel for color. His work insistently takes place indoors, in the places where we purr and rest, feed and play. In the places where we are — theoretically — the least mediated and the most ourselves.\u003c/p>\n\u003cp>For a new series, Spano conceptualized and documented a domestic interior with his friend Katie Burge. The scenes took place in her home, where she pursued an ordinary afternoon: lounging in her robe, using an exfoliating facial mask, smoking weed out of a bong. \u003c/p>\n\u003cfigure id=\"attachment_11385043\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SpanoComp.jpg\" alt=\"Work in the studio.\" width=\"1500\" height=\"1059\" class=\"size-full wp-image-11385043\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-960x678.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Work in the studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nothing is especially extraordinary about these scenes — except, perhaps, that Spano and Burge buck the traditional gender dynamic that usually characterizes such a scenario. Instead of ‘directing’ Burge, Spano followed her lead. Her decisions, her movements, her ideas were the source material for the work to come. While Burge went about her afternoon, Spano took hundreds of photographs, seeds for the vast array of artworks this afternoon would inspire.\u003c/p>\n\u003cp>Spano’s works take a number of forms, from abstract and figurative paintings to breathtaking charcoal drawings. The paintings themselves are of wildly different styles and approached. Burge’s robe, with its ornamentation against solid color, becomes the departure point for abstract renderings of color and shape. Another painting, showing Burge exhaling a sweet cubic gallon of marijuana smoke, gives Spano the opportunity to luxuriously spread dense puffs of white rhythmically around the canvas (is “weed smoke” a good candidate for Spano’s list poem?).\u003c/p>\n\u003cfigure id=\"attachment_11376953\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/KQED_SamSpano.jpg\" alt=\"Work in progress by Sam Spano.\" width=\"1500\" height=\"1001\" class=\"size-full wp-image-11376953\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-960x641.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Work in progress by Sam Spano. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We discuss the future paintings in the series, and Spano describes with relish his plans for an oil painting of Burge in a sticky facial mask, savoring the textures to come.\u003c/p>\n\u003cp>Looking at dozens of drawings, watercolors and oil paintings, all showing Burge in her domestic space, recalls a long and fraught history of men representing women alone in their personal spaces. Spano is aware of this history, which has historically sublimated, indeed helped create, the powerful and violent “male gaze.”\u003c/p>\n\u003cfigure id=\"attachment_11376950\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/KQED_SamSpano_18-e1457315917748.jpg\" alt=\"A Sam Spano painting in the studio.\" width=\"427\" height=\"640\" class=\"size-full wp-image-11376950\">\u003cfigcaption class=\"wp-caption-text\">A Sam Spano painting in the studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But while his project obviously recalls and cites centuries of such problematic scenes in western paintings, the approach and specifics of his representation feel different, if obviously not fully redemptive, by virtue of his thoughtfulness and care. The series reads to me more like a tribute to Sam and Katie’s friendship than the hard gaze of an auteur representing the female body for mere consumption.\u003c/p>\n\u003cp>The humor in Spano’s work treads a very fine line between irony and earnest delight. I mean, of course \u003cem>In The Realm Of The Senses \u003c/em>is funny. And yet in conversation, another dimension appears.\u003c/p>\n\u003cp>Spano describes a long period during which he repeatedly painted wolves. The wolf, he realized eventually, represented his own feelings. In his own painful and difficult time, the wolf was both fear and ferocity. This wolf, he tells me, gradually turned into the wolf’s famously mellow cousin: the dog.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If \u003cem>In The Realm Of the Senses\u003c/em> produces an ironic distance that even we Californians need in order to recognize our own beauty and silliness, it also hearkens to Sam Spano’s increasing okayness in the world. In some way it stands in as a sublime emblem of everything chill, everything delicious.\u003c/p>\n\n","blocks":[],"excerpt":"Oakland-based artist Sam Spano depicts relaxed domestic spaces with a delightfully culinary sense of color. ","status":"publish","parent":0,"modified":1705044926,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":980},"headData":{"title":"Bay Area Painting Right Now: Sam Spano's Blissful Interiors | KQED","description":"Oakland-based artist Sam Spano depicts relaxed domestic spaces with a delightfully culinary sense of color. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Painting Right Now: Sam Spano's Blissful Interiors","datePublished":"2016-03-07T16:00:02.000Z","dateModified":"2024-01-12T07:35:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11376944/bay-area-painting-right-now-sam-spanos-blissful-interiors","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In January 2016, Oakland’s City Limits held a \u003ca href=\"http://www.curiouslydirect.com/#!Cutty-Limits-Whose-Child-Is-This/c95u/5696e31a0cf263fc5a89ec07\" target=\"_blank\" rel=\"noopener\">one-night-only exhibition\u003c/a> of new works by several artists, including \u003cem>Bay Area Painting Right Now\u003c/em> alumna\u003ca href=\"http://ww2.kqed.org/arts/2015/07/30/bay-area-painting-right-now-lana-williams-breaks-the-rules/\" target=\"_blank\" rel=\"noopener\"> Lana Williams\u003c/a>. It was a terrific show; I hope you saw it! But while several pieces stayed on my mind over the following days, the one I still can’t get over is \u003ca href=\"http://www.samspano.com/\" target=\"_blank\" rel=\"noopener\">Sam Spano\u003c/a>’s \u003cem>In The Realm Of The Senses.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11385041\" class=\"wp-caption alignright\" style=\"max-width: 619px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop.jpg\" alt=\"Sam Spano, ‘In The Realm of the Senses,’ 2015.\" width=\"619\" height=\"640\" class=\"size-full wp-image-11385041\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop.jpg 619w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop-400x414.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop-580x600.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SamSpanoDogCrop-32x32.jpg 32w\" sizes=\"(max-width: 619px) 100vw, 619px\">\u003cfigcaption class=\"wp-caption-text\">Sam Spano, ‘In The Realm of the Senses,’ 2015. \u003ccite>(Photo: Kristine Eudey; Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>In The Realm Of The Senses\u003c/em> is a sculpture of a dog in lotus pose sitting on a black platform on top of a decorative rug. The dog’s eyes are closed tightly; it assumes the serene concentration befitting its quest for peace. And yet, in Spano’s installation, the dog meditates in front of a mirror. Does the dog’s focus stray so it can sneak a peek? Does it admire its own transcendental bliss in action?\u003c/p>\n\u003cp>Spano purchased the figure online and painted on its surface. The rug and the mirror imbue the dog with a certain glamor, a kind of splendid Cali narcissism we hardly ever associate with loyal, cuddly canines.\u003c/p>\n\u003cp>\u003cem>In The Realm Of the Senses\u003c/em> is funny, of course. But it also cues key themes pervasive in Spano’s work: pleasure, the domestic, and the coincidence of the two.\u003c/p>\n\u003cp>The pleasure of the interior, which of course includes meals and snacks, is a fundamental influence on every element of his painting, starting with color. Spano’s paints and brushes lie on a small table in his studio. Above it, on the wall, are three list poems, descending nouns with stray adjectives. Each phrase corresponds to an idea of color. And it’s true, each is an inimitable visual experience.\u003c/p>\n\u003cfigure id=\"attachment_11376951\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/samspano_list.jpg\" alt=\"Color list poems in the studio.\" width=\"1500\" height=\"1000\" class=\"size-full wp-image-11376951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/samspano_list-960x640.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Color list poems in the studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Take “chocolate pudding” for instance. Yes, it’s dark brown. But it’s also sui generis, chocolate pudding unto itself — more a jiggly feeling than a fact of light. This is the conceptual apparatus underlying Spano’s canvasses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most of the conceptual colors on these lists are edible or potable. Spano’s association of color with comestibles underscores his work’s grounding in domestic themes. But it’s not just the sensible and gustatory memory of food and drink behind his feel for color. His work insistently takes place indoors, in the places where we purr and rest, feed and play. In the places where we are — theoretically — the least mediated and the most ourselves.\u003c/p>\n\u003cp>For a new series, Spano conceptualized and documented a domestic interior with his friend Katie Burge. The scenes took place in her home, where she pursued an ordinary afternoon: lounging in her robe, using an exfoliating facial mask, smoking weed out of a bong. \u003c/p>\n\u003cfigure id=\"attachment_11385043\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SpanoComp.jpg\" alt=\"Work in the studio.\" width=\"1500\" height=\"1059\" class=\"size-full wp-image-11385043\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-1180x833.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SpanoComp-960x678.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Work in the studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nothing is especially extraordinary about these scenes — except, perhaps, that Spano and Burge buck the traditional gender dynamic that usually characterizes such a scenario. Instead of ‘directing’ Burge, Spano followed her lead. Her decisions, her movements, her ideas were the source material for the work to come. While Burge went about her afternoon, Spano took hundreds of photographs, seeds for the vast array of artworks this afternoon would inspire.\u003c/p>\n\u003cp>Spano’s works take a number of forms, from abstract and figurative paintings to breathtaking charcoal drawings. The paintings themselves are of wildly different styles and approached. Burge’s robe, with its ornamentation against solid color, becomes the departure point for abstract renderings of color and shape. Another painting, showing Burge exhaling a sweet cubic gallon of marijuana smoke, gives Spano the opportunity to luxuriously spread dense puffs of white rhythmically around the canvas (is “weed smoke” a good candidate for Spano’s list poem?).\u003c/p>\n\u003cfigure id=\"attachment_11376953\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/KQED_SamSpano.jpg\" alt=\"Work in progress by Sam Spano.\" width=\"1500\" height=\"1001\" class=\"size-full wp-image-11376953\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/KQED_SamSpano-960x641.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Work in progress by Sam Spano. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We discuss the future paintings in the series, and Spano describes with relish his plans for an oil painting of Burge in a sticky facial mask, savoring the textures to come.\u003c/p>\n\u003cp>Looking at dozens of drawings, watercolors and oil paintings, all showing Burge in her domestic space, recalls a long and fraught history of men representing women alone in their personal spaces. Spano is aware of this history, which has historically sublimated, indeed helped create, the powerful and violent “male gaze.”\u003c/p>\n\u003cfigure id=\"attachment_11376950\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/KQED_SamSpano_18-e1457315917748.jpg\" alt=\"A Sam Spano painting in the studio.\" width=\"427\" height=\"640\" class=\"size-full wp-image-11376950\">\u003cfigcaption class=\"wp-caption-text\">A Sam Spano painting in the studio. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But while his project obviously recalls and cites centuries of such problematic scenes in western paintings, the approach and specifics of his representation feel different, if obviously not fully redemptive, by virtue of his thoughtfulness and care. The series reads to me more like a tribute to Sam and Katie’s friendship than the hard gaze of an auteur representing the female body for mere consumption.\u003c/p>\n\u003cp>The humor in Spano’s work treads a very fine line between irony and earnest delight. I mean, of course \u003cem>In The Realm Of The Senses \u003c/em>is funny. And yet in conversation, another dimension appears.\u003c/p>\n\u003cp>Spano describes a long period during which he repeatedly painted wolves. The wolf, he realized eventually, represented his own feelings. In his own painful and difficult time, the wolf was both fear and ferocity. This wolf, he tells me, gradually turned into the wolf’s famously mellow cousin: the dog.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If \u003cem>In The Realm Of the Senses\u003c/em> produces an ironic distance that even we Californians need in order to recognize our own beauty and silliness, it also hearkens to Sam Spano’s increasing okayness in the world. In some way it stands in as a sublime emblem of everything chill, everything delicious.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11376944/bay-area-painting-right-now-sam-spanos-blissful-interiors","authors":["8622"],"series":["arts_1449"],"categories":["arts_70"],"tags":["arts_1119","arts_1118","arts_596"],"featImg":"arts_11384937","label":"arts_1449"},"arts_11241016":{"type":"posts","id":"arts_11241016","meta":{"index":"posts_1591205157","site":"arts","id":"11241016","score":null,"sort":[1453737630000]},"guestAuthors":[],"slug":"bay-area-painting-right-now-maysha-mohamedis-aerobic-abstractions","title":"Bay Area Painting Right Now: Maysha Mohamedi's Aerobic Abstractions","publishDate":1453737630,"format":"image","headTitle":"Bay Area Painting Right Now: Maysha Mohamedi’s Aerobic Abstractions | KQED","labelTerm":{"term":1449,"site":"arts"},"content":"\u003cp>When I boarded BART on a beautiful December Saturday to visit \u003ca href=\"http://www.mayshamohamedi.com/\" target=\"_blank\" rel=\"noopener\">Maysha Mohamedi\u003c/a>’s San Francisco studio, I found myself on an unexpectedly crowded train — full of Santas.\u003c/p>\n\u003cp>Yes, it was SantaCon, a day of atonement for all the non-SantaCon days we carelessly enjoy and take for granted. I dug into my earphones, listening to Anna Joy Springer sing, \u003ca href=\"https://www.youtube.com/watch?v=pAKQ09GGQFs\" target=\"_blank\" rel=\"noopener\">“I wish California would fall in the ocean / and everyone would die.”\u003c/a>\u003c/p>\n\u003cp>Art, as usual, helped.\u003c/p>\n\u003cp>The next day, I learned the \u003ca href=\"https://books.google.com/books?id=reYDAAAAMBAJ&lpg=PA68&ots=wTk4oiZwAW&dq=mother%20jones%20santa%20copenhagen&pg=PA70#v=onepage&q&f=false\">story of SantaCon\u003c/a>, which originated in San Francisco as a surrealist homage to an original action undertaken by Danish anarchists in 1974. The anarchists broke into a department store and gave merchandise away for free before being beaten by the Danish police.\u003c/p>\n\u003cfigure id=\"attachment_11244012\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11244012\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/MayshaDtlCart.jpg\" alt=\"A painting in progress and Mohamedi's cart of painting supplies.\" width=\"1500\" height=\"1115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-1180x877.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-960x714.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A painting in progress and Mohamedi’s cart of painting supplies. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I belabor this terrible history not to connect Mohamedi’s extraordinary work to SantaCon. Rather, what the secret radical history of SantaCon suggests is an allegory for looking at paintings: that even something which appears quite obvious or simple invites a longer and deeper look. The longer I look at her paintings, the more I know about how they came to be made, the richer and more powerful they become for me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We look at one of these paintings, and she tells me the background is kind of yellow. I feel ashamed and semi color-blind. But with encouragement and time I see it too.\u003c/p>\n\u003cfigure id=\"attachment_11241021\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11241021\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45.jpg\" alt=\"Mohamedi at work\" width=\"1500\" height=\"1001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-960x641.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Mohamedi at work \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even at first glance, there is an enormous amount of information in her work. The panels are massive and there is a lot of space in them. Her shapes, while abstract, express an enormous amount of feeling. Long, wide ribbons of oil unfold on the panels with great movement. The marks are almost rhythmic, translating the movements of Mohamedi’s body into a residual kinetic activity on wood. By contrast, thin, wan, etched webs of paint provoke an almost claustrophobic focus.\u003c/p>\n\u003cp>This complexity of ground and multiplicity of meaning in the marks Mohamedi makes result from the intricacy of her process. Typically, she makes two paintings at a time, laying the gigantic panels on the floor of her studio. She washes them over and over with different textures and colors of tinted gesso. A painting’s ground is extremely layered, and never simply white.\u003c/p>\n\u003cp>As the successive layers of gesso dry, Mohamedi shifts her attention to the conceptual armature of the piece. “I typically invest these paintings with one idea,” she tells me. This investment, which occurs over time, is a gestational process for shapes and motifs to coalesce.\u003c/p>\n\u003cfigure id=\"attachment_11262530\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/GlassesToolFIX.jpg\" alt=\"Inside Mohamedi's studio, one of the artist's tools.\" width=\"1500\" height=\"1115\" class=\"size-full wp-image-11262530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-1180x877.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-960x714.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Inside Mohamedi’s studio, one of the artist’s tools. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She pours relatively thin oil paint directly onto the panels in wide lines, refining them with her gloved hands. She also uses homemade tools (I got to handle two of these: a paper clip and a jumbo crayon attached to a long dowel.) Moving around the paintings, the marks she makes are literal expressions of how her bodily presence influences her works.\u003c/p>\n\u003cp>This aerobic, durational process, as well as Mohamedi’s “investment” of ideas in these paintings, make them, for me, narrative in two senses. One is simply the somatic, gestural, aerobic, conceptual tale of Maysha Mohamedi making a painting: her tools, her movements, her hands. Her abstract paintings also infer story through titles, and the emotional returns on the “one idea” in which she invests.\u003c/p>\n\u003cfigure id=\"attachment_11241024\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11241024\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BBBFF_DIPTYCH-e1452728843997.jpg\" alt=\"Maysha Mohamedi, 'Bleeding Green Below 40 Feet,' 2015.\" width=\"1500\" height=\"724\">\u003cfigcaption class=\"wp-caption-text\">Maysha Mohamedi, ‘Bleeding Green Below 40 Feet,’ 2015. \u003ccite>(Photo courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking at the extraordinary diptych \u003cem>Bleeding Green Below 40 Feet\u003c/em>, for instance, Mohamedi speaks of the painting’s theme in the context of its origin. While working in an office with scientists at the California Academy of Sciences, Mohamedi learned that humans can’t see red at a certain depth of the ocean. If deep sea divers cut themselves while on the job, they need to be able to recognize their own blood in the water, where it now appears green.\u003c/p>\n\u003cp>\u003cem>Bleeding Green\u003c/em>’s grays and blues, as well as the almost watery quality of the thin oil paint finessed by her fingers, evoke not only the color spectrum and feel of the aquatic, but also a mood of fear, uncertainty and morbidity. The origin story of \u003cem>Bleeding Green\u003c/em> also recalls Mohamedi’s own background in the sciences. She trained for years to be a research scientist. \u003cem>Bleeding Green\u003c/em>, more than the mere reiteration of a cool piece of science trivia, is also, in part, the story of her life.\u003c/p>\n\u003cp>These paintings are remarkably non-referential. Mohamedi makes them intuitively, and they are not dependent on previous imagery, nor do they typically comment on the history of art. One exception is \u003cem>Dompteuse\u003c/em> (French for “lion tamer”), a painting recently featured in a group show at \u003ca href=\"http://www.bustamantegill.com/\" target=\"_blank\" rel=\"noopener\">Bustamante Gill\u003c/a> gallery in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_11241025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11241025\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm.jpg\" alt=\"Maysha Mohamedi, 'Dompteuse,' 2015.\" width=\"800\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm-400x370.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm-649x600.jpg 649w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm-768x710.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maysha Mohamedi, ‘Dompteuse,’ 2015. \u003ccite>(Photo courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inspired by \u003ca href=\"http://www.artnet.com/artists/otto-dix/dompteuse-NhkWesLAsyZQW1IwP8ogdg2\" target=\"_blank\" rel=\"noopener\">an Otto Dix print\u003c/a>, Mohamedi’s \u003cem>Dompteuse\u003c/em> hearkens only obliquely to an image of an animal trainer. As Mohamedi explained, during the painting’s gestational period, she was in the process of toilet training her son. “I \u003cem>felt\u003c/em> like an animal trainer,” she says. The residual imagery and feeling of this trying process resound in the visual field of \u003cem>Dompteuse\u003c/em>, while the expressionist artwork inspiring it informed the conceptual process.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Looking at these paintings, I feel the sublime vertigo of learning something new. Mohamedi’s paintings withhold narrative, and yet offer the abundance of feeling we seek in our encounters with narratives. She makes the paintings through a relentless physical and intellectual process unique to her, and yet each panting’s structure is delicate and ornate for all that relentless effort. At once intimate and oblique, approachable and difficult, these paintings warrant patience, a little lingering. It pays off.\u003c/p>\n\n","blocks":[],"excerpt":"A studio visit with a San Francisco-based painter who withholds narrative, but not emotion in her physically impressive panels.","status":"publish","parent":0,"modified":1705045349,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1009},"headData":{"title":"Bay Area Painting Right Now: Maysha Mohamedi's Aerobic Abstractions | KQED","description":"A studio visit with a San Francisco-based painter who withholds narrative, but not emotion in her physically impressive panels.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Painting Right Now: Maysha Mohamedi's Aerobic Abstractions","datePublished":"2016-01-25T16:00:30.000Z","dateModified":"2024-01-12T07:42:29.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11241016/bay-area-painting-right-now-maysha-mohamedis-aerobic-abstractions","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I boarded BART on a beautiful December Saturday to visit \u003ca href=\"http://www.mayshamohamedi.com/\" target=\"_blank\" rel=\"noopener\">Maysha Mohamedi\u003c/a>’s San Francisco studio, I found myself on an unexpectedly crowded train — full of Santas.\u003c/p>\n\u003cp>Yes, it was SantaCon, a day of atonement for all the non-SantaCon days we carelessly enjoy and take for granted. I dug into my earphones, listening to Anna Joy Springer sing, \u003ca href=\"https://www.youtube.com/watch?v=pAKQ09GGQFs\" target=\"_blank\" rel=\"noopener\">“I wish California would fall in the ocean / and everyone would die.”\u003c/a>\u003c/p>\n\u003cp>Art, as usual, helped.\u003c/p>\n\u003cp>The next day, I learned the \u003ca href=\"https://books.google.com/books?id=reYDAAAAMBAJ&lpg=PA68&ots=wTk4oiZwAW&dq=mother%20jones%20santa%20copenhagen&pg=PA70#v=onepage&q&f=false\">story of SantaCon\u003c/a>, which originated in San Francisco as a surrealist homage to an original action undertaken by Danish anarchists in 1974. The anarchists broke into a department store and gave merchandise away for free before being beaten by the Danish police.\u003c/p>\n\u003cfigure id=\"attachment_11244012\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11244012\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/MayshaDtlCart.jpg\" alt=\"A painting in progress and Mohamedi's cart of painting supplies.\" width=\"1500\" height=\"1115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-1180x877.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MayshaDtlCart-960x714.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">A painting in progress and Mohamedi’s cart of painting supplies. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I belabor this terrible history not to connect Mohamedi’s extraordinary work to SantaCon. Rather, what the secret radical history of SantaCon suggests is an allegory for looking at paintings: that even something which appears quite obvious or simple invites a longer and deeper look. The longer I look at her paintings, the more I know about how they came to be made, the richer and more powerful they become for me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We look at one of these paintings, and she tells me the background is kind of yellow. I feel ashamed and semi color-blind. But with encouragement and time I see it too.\u003c/p>\n\u003cfigure id=\"attachment_11241021\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11241021\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45.jpg\" alt=\"Mohamedi at work\" width=\"1500\" height=\"1001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/KQED_Maysha_Mohamedi_45-960x641.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Mohamedi at work \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even at first glance, there is an enormous amount of information in her work. The panels are massive and there is a lot of space in them. Her shapes, while abstract, express an enormous amount of feeling. Long, wide ribbons of oil unfold on the panels with great movement. The marks are almost rhythmic, translating the movements of Mohamedi’s body into a residual kinetic activity on wood. By contrast, thin, wan, etched webs of paint provoke an almost claustrophobic focus.\u003c/p>\n\u003cp>This complexity of ground and multiplicity of meaning in the marks Mohamedi makes result from the intricacy of her process. Typically, she makes two paintings at a time, laying the gigantic panels on the floor of her studio. She washes them over and over with different textures and colors of tinted gesso. A painting’s ground is extremely layered, and never simply white.\u003c/p>\n\u003cp>As the successive layers of gesso dry, Mohamedi shifts her attention to the conceptual armature of the piece. “I typically invest these paintings with one idea,” she tells me. This investment, which occurs over time, is a gestational process for shapes and motifs to coalesce.\u003c/p>\n\u003cfigure id=\"attachment_11262530\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/GlassesToolFIX.jpg\" alt=\"Inside Mohamedi's studio, one of the artist's tools.\" width=\"1500\" height=\"1115\" class=\"size-full wp-image-11262530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-1180x877.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GlassesToolFIX-960x714.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Inside Mohamedi’s studio, one of the artist’s tools. \u003ccite>(Photo: Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She pours relatively thin oil paint directly onto the panels in wide lines, refining them with her gloved hands. She also uses homemade tools (I got to handle two of these: a paper clip and a jumbo crayon attached to a long dowel.) Moving around the paintings, the marks she makes are literal expressions of how her bodily presence influences her works.\u003c/p>\n\u003cp>This aerobic, durational process, as well as Mohamedi’s “investment” of ideas in these paintings, make them, for me, narrative in two senses. One is simply the somatic, gestural, aerobic, conceptual tale of Maysha Mohamedi making a painting: her tools, her movements, her hands. Her abstract paintings also infer story through titles, and the emotional returns on the “one idea” in which she invests.\u003c/p>\n\u003cfigure id=\"attachment_11241024\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11241024\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BBBFF_DIPTYCH-e1452728843997.jpg\" alt=\"Maysha Mohamedi, 'Bleeding Green Below 40 Feet,' 2015.\" width=\"1500\" height=\"724\">\u003cfigcaption class=\"wp-caption-text\">Maysha Mohamedi, ‘Bleeding Green Below 40 Feet,’ 2015. \u003ccite>(Photo courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking at the extraordinary diptych \u003cem>Bleeding Green Below 40 Feet\u003c/em>, for instance, Mohamedi speaks of the painting’s theme in the context of its origin. While working in an office with scientists at the California Academy of Sciences, Mohamedi learned that humans can’t see red at a certain depth of the ocean. If deep sea divers cut themselves while on the job, they need to be able to recognize their own blood in the water, where it now appears green.\u003c/p>\n\u003cp>\u003cem>Bleeding Green\u003c/em>’s grays and blues, as well as the almost watery quality of the thin oil paint finessed by her fingers, evoke not only the color spectrum and feel of the aquatic, but also a mood of fear, uncertainty and morbidity. The origin story of \u003cem>Bleeding Green\u003c/em> also recalls Mohamedi’s own background in the sciences. She trained for years to be a research scientist. \u003cem>Bleeding Green\u003c/em>, more than the mere reiteration of a cool piece of science trivia, is also, in part, the story of her life.\u003c/p>\n\u003cp>These paintings are remarkably non-referential. Mohamedi makes them intuitively, and they are not dependent on previous imagery, nor do they typically comment on the history of art. One exception is \u003cem>Dompteuse\u003c/em> (French for “lion tamer”), a painting recently featured in a group show at \u003ca href=\"http://www.bustamantegill.com/\" target=\"_blank\" rel=\"noopener\">Bustamante Gill\u003c/a> gallery in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_11241025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11241025\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm.jpg\" alt=\"Maysha Mohamedi, 'Dompteuse,' 2015.\" width=\"800\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm-400x370.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm-649x600.jpg 649w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Mohamedi_Dompteuse_sm-768x710.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maysha Mohamedi, ‘Dompteuse,’ 2015. \u003ccite>(Photo courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inspired by \u003ca href=\"http://www.artnet.com/artists/otto-dix/dompteuse-NhkWesLAsyZQW1IwP8ogdg2\" target=\"_blank\" rel=\"noopener\">an Otto Dix print\u003c/a>, Mohamedi’s \u003cem>Dompteuse\u003c/em> hearkens only obliquely to an image of an animal trainer. As Mohamedi explained, during the painting’s gestational period, she was in the process of toilet training her son. “I \u003cem>felt\u003c/em> like an animal trainer,” she says. The residual imagery and feeling of this trying process resound in the visual field of \u003cem>Dompteuse\u003c/em>, while the expressionist artwork inspiring it informed the conceptual process.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Looking at these paintings, I feel the sublime vertigo of learning something new. Mohamedi’s paintings withhold narrative, and yet offer the abundance of feeling we seek in our encounters with narratives. She makes the paintings through a relentless physical and intellectual process unique to her, and yet each panting’s structure is delicate and ornate for all that relentless effort. At once intimate and oblique, approachable and difficult, these paintings warrant patience, a little lingering. It pays off.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11241016/bay-area-painting-right-now-maysha-mohamedis-aerobic-abstractions","authors":["8622"],"series":["arts_1449"],"categories":["arts_70"],"tags":["arts_1119","arts_1118","arts_596"],"featImg":"arts_11244011","label":"arts_1449"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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