First Friday, Farewells, and the Future

I spent most of last week preparing for First Friday’s open studio at Grounds for Sculpture by working on three altered metal mixing bowls and cleaning up the Tech MEB Workshop to get it ready to display the work for the public to see. The night of the event there was a good turnout of people and our conversations ranged from talking about materials and process to concepts and backstories. What I ended up focusing on the most was the process and where the idea for this project originated from. Continue reading

Final Resident Update: Layo Bright

It is a bittersweet feeling knowing that the residency is coming to an end. It has been 4 weeks of learning, hard work, forming relationships and exploration. It was a pleasure to share a studio with fellow artist-in-residence Natani Notah, and learn about her practice and community. I am leaving with a new friendship and profound respect for her as an artist. Continue reading

Dewane Hughes: Dallas Farmer’s Market

In “Haikus & Doo-Dahs, Tiny to Titan,” Dewane Hughes’s exhibition of large-scale steel sculptures and maquettes on view at the Dallas Farmer’s Market, the Texas-based sculptor provides the viewer with a new perception of the market and its space.  Hughes’s use of steel, an industrial material, highlights the Market’s unique status as a space devoted to the fruits of agricultural labor that happens to be situated in the midst of one of the largest urban areas in Texas.  The Market itself functions as a kind of in-between space as it operates as a zone between industry and agriculture, metropolis and farmland.  Continue reading

Politics of the Secondhand: Natani Notah

Over the past week I have continued to work on a series of sculptures that transform used metal mixing bowls into faux pottery. So far the process has consisted of first layering gesso onto the surface and lifting, carving, and peeling away certain parts to expose the stainless steel underneath. The next steps have been to sand down the edges where the the gesso ends and the metal begins. Conceptually I am interested in this line serving as a metaphor for the moment where two distinctly different things can come together and coexist, thus resulting in a more beautiful whole. Continue reading

Empowered Women

sculpture

Installation view of SEED, at Paul Kasmin Gallery, June 21 – August 10, 2018. Wangechi Mutu in foreground. Photo: Christopher Stach

“Seed” at Paul Kasmin Gallery in New York brings together 29 emerging to seasoned artists whose work embraces female archetypes — the goddess, warrior, mystic, sage, lover, maiden, and matriarch.  The layout allows works to “talk to each other” and the selection avoids or confronts stereotypes.  Curated by Yvonne Force, one theme is “the complexity and resonance of a long association between the natural world, sexuality and fertility, and spirituality and mysticism.” Continue reading

Organizing Your Career in the Cloud

On any given day, Carrie Seid, a sculptor and mixed-media artist in Tucson, Arizona, has a couple dozen works that are “out,” meaning unsold but not in her studio. Some are consigned to commercial art galleries – there are five galleries in five different states – and others that are in the hands of art consultants (eight in five states). Then, of course, there are far more that are “in” her studio: completed, in progress or part of a public commission. At a manufacturing company, an inventory manager would be in charge of keeping track of where everything is but, in the sole proprietorship that is Carrie Seid Artist, she has to keep abreast of “where are my works, are they getting dusty, are any out on approval with collectors, has anything sold.” Continue reading