through the glass, towards me: a distillation
Installation with kinetic sculpture, video projection, sound and artists books.
April 26 - May 19, Center for Book & Paper Arts
Through the glass, Towards me: A Distillation is a slow, kinetic sculpture that transitions from ephemeral state into monument, and deals with themes of trauma, catharsis and residue. This project is a sculpture in movements, based on the instant my husband’s two ankles and right knee were crushed in a car accident. Through this work, I am exploring how objects can mediate an experience by replacing the lived time of an actual event with the memory induced by a monument.
As a poetic interpretation of his x-rays, I have chosen to use metal screws and glass discs frozen in a hanging column of ice. A Distillation changes slowly, revealing itself in layers as it melts, projecting shadow and refracting light around the room. Water from the monument drips into a catch basin below, creating a residual reflecting pool. A time lapse video of the original sculpture melting is projected onto the walls, creating a double of the image, which remains after the ephemeral monument has disappeared. In this space, a speaker hangs overhead, directing sounds of ice dripping and breaking around the viewer.
A Distillation is an object being destroyed in real time, a monument which functions in an active process, therefore inventing a narrative through memory.
Interview with Columbia Chronicle, Chicago, March 2013
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Labor, Process, Dialogue: Hand Papermaking as Collaborative Model
originally published in Material Assumptions: Paper as Dialogue, the catalog accompanying the exhibition
reprinted in Practice: Studio Research from the Center for Book & Paper Arts, February 2013
Collaboration is an integral part of hand papermaking in a studio environment. Many contemporary artists consider the process of collaboration increasingly important to an art practice because it fosters a dialogue that aids to a deeper connection to concept as well as to craft. My co-curators, Jessica Cochran, CJ Mace, Hannah King, and I chose to collaborate on each level of the Material Assumptions exhibition, from making the paper by hand, to choosing the artists who collaborated with us, to mounting the final exhibition. This article highlights our process, in the studio and in conversation, and reveals the way a dialogue through making can inform the curatorial and artistic process.
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design & content Elizabeth Isakson-Dado copyright 2013