If you don’t like the art, wait 10 days.
In this day and age, “art without a cause” is looked down upon. What would a dialog all about the art sound like? Would it stay about the art? If the art is not a rental car for political or cultural issues close to head and heart, do people shrug, "Yeah, well, I mean, I don't dislike it, right?"
trying to design a place of wonder nearby, 2019, variations made from handmade cast abaca and cotton papers, pulp painting, pastel, painted wood, tape, bamboo, fencing wire, width varies from 5’ to 11’, height seems a steady 7’ to 8’
We want to show our works in the context of how we work. We’d like to find a display window space on a busy street and create a piece like the ones shown on this page. 10 days later, we’ll take the stage for passersby to watch us recompose/reaarange the parts - sometimes dramatically, sometimes more simply - until we have a new, worthy variation. We’ll take away a few or a lot of components and add others.
It might take several hours or a couple of days. Then wait 10 days and repeat.
finding a path to what we’ve turned our backs on, 2019 handmade cast abaca and cotton papers, wood, insulation foam board, fencing wire, dimensions vary though as a guide the white side panels are 8’ high. If you’re judging by the figures in the photos, Barb is 5’, Paul 6.5’
Working through variations is how we compose best. For a show, of course, we’re gunning for “final” pieces. Throw some things on the wall, floor or ceiling, move them around until something clicks, photograph it, put the parts into “no can use now,” and yell Next!
The galleries on this page show compositional variations rather than better and better stages of a work that finally becomes finished, clear and unchangeable. For us, well chosen moments in time go deeper than a single timeless, for-the-ages work. (Yes, when we start making for-the-ages pieces we may feel differently.) Show the days and roads of the journey rather than how journey’s end looked.
Since they use some of the same parts, these variations can only appear together in a gallery of photographs. Or, in the shop window, they can only appear one after the next over time.
It’s fascinating and maybe unbecoming to poke a stick at our notions of how artwork is created to be finished and left alone. We see our works as unique and lasting, but never permanent. Even a work of ours on somebody else’s wall will seem to us still ready to assume a new variation.
various iterations of how to live without urgency, 2019 handmade cast abaca and cotton papers, pulp painting, pastel, fabric, insulation foam board, wood, fencing wire, dimensions vary though as a guide the white side panels are 8’ high
Each of these sequences is a rumination on an artwork’s singularity in an artist’s oeuvre and on the enriching context that one artwork can provide within a body of work when it is entangled so closely with the works that come before and after.
For our shop front window work, we’ll invite feedback of any kind. And we’ll show that feedback on a monitor at the side of the window.
LandesSullivan (at) gmail to contact us.