Please Join us for the opening night of Rachel Hines‘ show, a collection of delicate and wild drawings: Hair Brain.
From the artist’s website - As a meditative practice I let thoughts manifest themselves through pen and ink on paper. The more frantic the thoughts come, the more furiously the pen moves. Working on a scroll of paper allows the thoughts to become as big as necessary. Many of these drawings are over four feet long.
We stopped by Emily Hanna Wyant‘s studio to chat about her current (and untitled) project, a white cube wherein she creates fantastic and funny environments — and then destroys them. An artist and designer, with ties to LA, Emily came back to Portland to participate in PNCA and OCAC’s Applied Craft + Design MFA program. She graduates in May and is gearing up for the big finale. You can see her finished work in person on May 24th at the Applied Craft + Design studio space, 421 NE 10th Ave.
Duplex: Tell us about your background. Emily Hanna Wyant: My background is in event and environment design. I did a lot of window displays. I was in LA working for IMG in their Action Sports division on LA Times events. So I was building spaces and not doing as much of the creative part as I wanted — it was a lot of management. I was also working for East of Borneo, a contemporary art magazine, based out of CalArts, promoting and assisting with web design. I was spending a lot of time and energy promoting other artists and all I wanted to do was be one. I heard about this program, Applied Craft + Design, before I left Portland and was really interested in the “applied” part of it. Being able to be creative in a way that defines what you want as your practice and identifying a sustainable way to do that for a lifetime. Here, I have been doing a lot of material exploration. I learned how to weld, how to work with wood, different ceramics and mold making.
D: How did you develop this project? EHW: This project really came out of figuring out what I needed to have as my optimal circumstance to create in – specific constraints to funnel my creativity, for example deadlines and space limitations, since in the past these constraints were defined by my client.
I wanted to get out of grad school and have environments I could show in a portfolio. Using the box as my space constraints and designing a timeline I could hold myself accountable to. I change it on a weekly basis. What’s come out of it is the destruction. Read More «In the Studio – Emily Hanna Wyant»
I might be late on this one, but we finally got around to watching Cutie and the Boxer on Netflix last night. It’s an emotional and complicated love story of two Japanese artists, Ushio and Noriko Shinohara, living in New York and recalling their 40 years of marriage. I was struck by the exceptionally poignant dialog about art and love.
Life is wonderful. Life should be positive. When it’s blown to pieces, that’s when it becomes art. Art is messy and dirty when it pours out of you. The New York Times once said “Shinohara is amazing.” Listen… Why do I… It makes me cry. I believe in my career goddamn it. Why do I have to? I want to cry. I’ve got nothing. Listen to me! This is so hard… And it’s so fantastic… Now I’ve got nothing. You see… We are the ones suffering the most from art…
We were able to sit down with Marisa in her studio to talk about paper, math, and her upcoming installation, Expanse, opening this week! Check out the photos and interview below to get a sneak peek!
Duplex: Tell us a little about your process and Expanse.
Marisa Green: I always start with a sketch of the main form. What do I want the finished piece to look like? From there I decide on the size, which is usually determined by the layout of the gallery. I try to make sight specific work when I can because I feel that the impact is much greater. From there I create the small, repeatable form in Illustrator—for Expanse I used a pyramid. That’s when I start exploring with pattern, numerically and visually.
The idea for Expanse came about from finding stillness in nature. You could be looking up at the sky and everything just kind of stops. For a moment you reset your inner compass and know deep down that everything is OK. I want the viewers to be able to find that inner peace and stillness in the setting of Duplex. While everyone else is walking around, talking, and enjoying each other’s company, the two people in the chairs will have the opportunity to tune it all out and settle into the Expanse.