New Work

Drawing (metal and plastic from the beach), 2010, granular ilmenite and acrylic medium on Arches paper, 22.5 x 22.5 inches.

New work for the show Smoke + Mirrors/Shadows + Fog at the Hunter College Times Square Gallery, February 18 - April 17, 2010.

(Getting better images at the photographer tomorrow). Its been interesting to make work in a short space of time - the usual frenzy of experiments, high points, dips, despair and determination ... leading to work that holds its own and takes me forward. The way that chance and intention work together is really interesting.

3 new works this size (framed to 36 x 36 inches) and 6 smaller works are heading up to NYC via UPS next week, along with the raw materials for a 10 foot floor drawing. Can't imagine explaining to Airport Security why I have 20 lbs of granular ilmenite along with assorted oven elements and plastic trash is in my hand luggage...!

Show at the Arts Council Gallery

Its been a busy Fall... teaching seemed to take a lot of time for some reason this semester. Mind you, 2 trips to NYC along with continual promotional work like updating artist registries, sending out submissions etc as well as putting on this show took up the slack!

This show at the Asheville Area Arts Council Gallery in downtown Asheville was a fabulous opportunity, as exhibiting at best always is, to move some ideas forward. The gallery has two basement rooms that are not really used for anything. I'd applied like a year ago, and been accepted for the upstairs gallery. Then during the year I happened to see the basement rooms... and knew I had to put my installations in there. Luckily Sarah Meyer at the gallery was keen, and let me have a free hand.

It took a little figuring out, but a couple of weeks saw me placing work, installing lights, building an 8.5 x 17 foot canvas on site and fixing it up as a partition (that was a trip with only two pairs of hands!). The rooms are unfinished, with ducting and all kinds of cabling and pipes exposed in the ceiling, the walls are tidy and white, but just whatever happens to be there - corrugated brick, the tracks of old staircases etc. The coolest feature was the water heater on its little pile of bricks... instead of covering it up it became part of the installation on the suggestion of my artist friend Nava Lubelski. A little shadow drawing all of its own. Nava also helped me with the large canvas, and with painting the ladder shadow - an idea that got its chance at the last minute and was not yet dry as wine began flowing on the opening night!





















So, the work that came together in January at Warren Wilson College looked very different in these more industrial surroundings, and was put in context with both new and older work. For a fuller view of the show, check out http://heatherlewis.carbonmade.com . (There's a link to that from my main website too, on the links page. Updating is an issue when your web designer knows php programming and you don't!)

AND the good news is, the promotional activity paid off! I have been invited to show work at Hunter College Times Square Gallery, CUNY in New York in February!

drawings (from the street) at Pratt Manhattan

A shadow is a drawing created by mechanical means... not involving traditional artistic skills nor photographic mediation.

Using light and other media, I have been exploring mechanical processes in different ways (see some here, or below).

Why? Well, imagination seems vitally important as we move into an era of enormous change. Beyond the dull and restrictive commercial parameters currently keeping our world on what seems like a single-minded path (aka the fossil fuel lobbyist's dream), are astounding new possibilities. I believe that we need to think hard about what criteria we use to direct technology - after all, it is just a tool, and as we know, tools can kill you, or help you. As a society, maybe we have to decide, and make clear, which option we want.

Imagination (available to everyone) may have just as much to contribute at the end of the "oil age" as scientists in expensive research labs. I feel that by reclaiming technology from corporate control even in such small situations as are possible within my art practice, I am able to open a few doors in this area. I want to decide what technology will make for me and why - and this applies on a larger scale also.

A small loop of these shadow drawings is on show at the Pratt Manhattan Gallery, 144 West 14th Street, NYC as part of Design Jazz : Improvisations on the Urban Street - through Nov 7th.

chemigrams

Pierre Cordier, Chemigram 8/2/61

Just discovered chemigrams... they aren't photography because light doesn't play a part in things - they use the chemicals of photography, rather than the process. Similar to my gravitygrams - but there the process and concept of photograms are used but NOT any of the chemicals.

All these things are versions of resisting, printing and stenciling : mechanical processes - a concept developed by early manufacturers to remove craft and creativity from the actual production method. Quite fascinating to see the possible variations... and what altered goals and values allow them to arise. After all, to use these processes in unusual ways requires letting go of a commercial mindset...or does it?

Heather Lewis Two grill pans on a giclee, 2008 (gravitygram of cast iron grindings, granular rutile, acrylic medium and digital image - lots of room for variation there.)

Could a factory make intentionally arbitrary objects or patterns? I'm sure I've heard of some that do. It would be possible within certain parameters. Both physically, and more easily perhaps, digitally. Brian Eno's 70 million paintings spring to mind but I know I've seen something more interesting than that recently. (Nearest I can find right now is Fuzzy ART algorithm used to catch and AVOID minute variations in manufacturing due to flaws. Suppose it was used to create variations in areas that would not be seen as flaws?)


Heather Lewis Two ice trays, 2008, cast iron grindings and acrylic medium. Room for manufacturing variation there too.

Anyway... on a smaller scale, back in the studio...I'd like to see the chemigram used with other kinds of more direct intervention - Cordier drew or printed on the photographic paper to create a resist, in ways which are not within my area of concern. I'm thinking of chemical versions of these gravitygrams.



Heather Lewis Drawing (tape gun), 2008. Cast iron brake grindings and acrylic medium on paper.

light drawings

Feels like I've not been working much this year but I when the focus changes it can seem that way. I have been collecting light drawings like these quite consistently over the past 2 or 3 years.

summer time

Semester is over and I've been getting through some less popular items lurking in my TO DO list. Finally got some of them out of the way and researching for my next studio immersion. Reading "The invention of capitalism" and "Insatiable is not sustainable". After all, I am heavily into manufactured products, and determinedly against the assumptions inherent in the system so it makes sense. Its all quite fascinating.

Also, coming up is an exhibition of my incarcerated students' artwork from the Spring Semester. It will be at the Ramsey Library, UNCA, reception 30 June, 6 pm. Show to run through August 6th or so. Some interesting discoveries recently in terms of alternative art - speaking of systems. Check out www.cellblockvisions.com for some self-taught art, or outsider art in a big way. In my class I found I was trying to balance reward for self expression with that for completion of course requirements, not always easy, nor easy to justify to fellow students, even in less close quarters. Instructing someone how to "draw correctly" can feel like a tyrannical imposition. Wish there was more time to explore other avenues. It has been quite an experience.

Other things that have come out of the experience... finding these programs : www.lionheart.org (watch the video clip, or look at the prison program) and the related documentary at www.dhammabrothers.com . Not sure where my activities are going, or even my ultimate part in it, but I will use the art shows to raise awareness of people living in another world. One in every 100 Americans is incarcerated, apparently...the highest per capita on the planet. Maybe its just me who hasn't been aware of it!

juror duty

Been keeping my head down and getting on with it this semester. Teaching takes up quite a chunk of time one way and another but I did manage to go to Boston for the Transcultural Exchange Conference about artist residencies. Very interesting, met people, heard a lot of stories from both applicants and organizers, got a good insight into choosing a residency that fits and how to go about funding it. Now all I have to do is complete some of those things... and when do I get into the studio? Summer time, I hope.

Just juried a student show at a local college, the Blue Ridge Community College. Images here. (Scroll down or search for BRCC). I have to say I was impressed with their art department, a very exciting student art program. As the college is 35 minutes outside Asheville, which is not really at the cutting edge of contemporary art, I wasn't expecting the informed faculty and contemporary ideas that I found there. So that was a nice surprise. Jurying a show however, is a difficult - if not impossible - task to complete entirely rationally. There were entries from all levels of students, a range of disciplines and materials. How to even begin to apply some kind of criteria to that?

There were people's first charcoal studies of a skeleton next to pinhole camera images, alongside ceramics, with conceptual sculpture, beside installation, video, iron pours... painting, digital imaging class projects, sound pieces and a light projection onto a bed. I had to go and sit quietly for a while to mull over the fact that I needed to choose the "winners". In the end, I went for resolution and eloquence over potential. I don't think my choices were expected, and I wish I'd been able to give more prizes for different things but I am fairly solidly behind what I chose. A short speech before the awards were given out helped to clarify things I hope. A lottery, yes, but only in that each juror will determine a different set of "standards". After that it is rational up to a point, except that there are about 10 other artworks that don't get mentioned even though they were hot contenders within your apparently narrowed selection!

It was really instructive to be jurying a show, in regard to sending your own work off in situations where it will be juried. Though I don't apply to juried shows, all selection processes fall under this umbrella, so it was quite fascinating. A new view of how your work may be seen.

Ok, I've got tasks today, getting gift certificates for another student show at the college I teach at, and driving to Boone, NC for the "inmate art show" benefit tonight. I have spent over 8 hours matting all the student work ... for free. Materials refunded, I hope, but the rest is...what? Sent out into the universe generously, as service, with the idea that one never knows where it will lead. Its just not a business plan the bank will consider, unfortunately!