Notes on a crawl space- SAIC Columbus Base Space


 Residency Installation-Year 2, July 2019

A staircase is an inverse relationship—reliant on some form of hierarchy—with the under side as one and the same as the upper side. Treads accumulate evidence of everyday ascensions and descensions. What is encountered has an impact on a body, and a body has an impact on what it encounters.


A flag is both signal and territory—a specific indicator and ground cover for a general topography. 

Columbus studio- summer 2019

north wall detail

corner detail

table top detail

wall drawing- chalk, glue, thread, leather

L- plans/ opens and shuts

L-plans/opens and shuts is an accumulation of materials, poems, and writing stored in a deconstructed 3 ring binder. Between March and May of 2019 I performed a sequence of actions in my own home, as my own subject, my own audience, creating my own documentation through video and writing. 


sentence scratch crack poem
edge of right angle defiance 
sign of line sign of lime 

earth in built powder

stone arm disarm man-made flat world
a crack is a ridge of a text bridge 
sheath of a surface

shallow here deep there poke me peel me 
doubting Thomas believe me
edge of expel in a wall page shadow 

stretch of sheath I seek your source




standing bird lady flying violent

stillness clothed naked 

a venus of sorts                                                                                 amongst other headless bodies





wet wood parting sea does not see                                                                                      you see?






another woman split up the middle





full frontal                                                                                                                  


on                                                    all 











four                                             sides




walking on water splintered by clipped wing




creamy stone grounded 


cool                                                                                    


murky provenance for future countertops




                                                                                                                                              Captured prowess 


utters mouthless cry of victory


and a translucent udder




sunk




a page, a flag, and a manual of instructions

Artists’ books avail the secretive, the unexpected, and the radical through a recognizable form. The obvious becomes less obvious by nature of content. The anatomy welcomes sensorial response; its hollows and folds, faces and edges, crevices and creases beckon turnings and returnings. Resting bed-like, text and image in repose, the book is a back to front body, generously contained and located. I enter and align my thinking with its bound materiality, confusing its demateriality. Participatory, collaborative, and communicative by nature, artists’ books require a meal-like pause, provide table top nourishment, and suggest a digestive viewing process.






5/7/2019 Tuesday 6:47 start time 
A self-subtraction 
Black-L darker today

Later today 
I began looking at the kitchen door leading to the hallway, and entered the L__________, Realizing once I shut the door that all the doors were not shut, as they have been for the past two performances. I shut the doors and began again (my bedroom door, bathroom door and window, Sarah’s bedroom door). I exited and entered again. I stepped into the right angle of the L___________ 
L_____________ Here and took a few breaths and wondered what makes this a performance 
(What makes this) a performance? And how will I record this. 
I walked to the south end of the L__________ X here 
and looked back at where I began 
The interval between the blinking green light seemed less even this time. Maybe my counting pace was irregular. I waited 3 intervals (of blinks) and then turned to my right and headed into the bathroom 
open closet linen door open linen closet left open toilet seat push shower curtain to the right then left, then right again, then left 
It remains pushed to the left and I left everything like that---------- OPEN 
I exited and shut the bathroom door behind me. I waited three intervals of the blinking smoke detector and then entered Sarah’s room. I slid her closet door shut, then slid it open again. I walked over to the shaded west window but could not see the outside. The shade is both translucent and opaque. It lets light in but I cannot see through it. I stared briefly at the south facing window and thought to leave. I then noticed two towels, wet lying on the ground, and studied their folds. I then thought to leave but noticed that the closet doors were swinging like a pendulum. 
I want to record this movement and sound 
(In writing this down I realize my actions are out of order) 
This actually happened before I went into Sarah’s room. After three intervals I went to the hallway closet and opened the door. It scares me to be in the dark, staring into more darkness. I count the space between the 5 shelves.

There are six intervals of space between the shelves.
The space between the shelves feels harmonious in its irregularity 
So I return to the exit from Sarah’s room. I exited the room and stood at the top of the L______. I walked up to the right angle and faced east, and realized the shift in light. I turned back to face south and walked to my bedroom door. I stared at my closed door then opened it, and made note of the light in the room and my clothing layered onto the caddy. I entered and turned and made a number of arrangements with the doors, more interested in the sound of the knocking than the arrangements today. I left the doors stacked without making note of how they were stacked. I turned around and walked around my bed to the bathroom. I noticed the glow of a light from Dewey school (that must be scheduled when it starts to get dark) 
It reminds me of the glow of blinking light. 
I stopped again.
The window was open because of the WD40 oil used on my faucet 2 1⁄2 weeks ago. I shut the door behind me and felt my body in the smaller space. I opened and shut the shower door twice, placing my hang bar just right so the shower door just cleared it, with a minimal amount of space, and thought about how one thing can brush up against another even when it doesn’t touch it. I left the shower door closed, and opened the lined closet. Opened. I do not remember if I left the toilet seat open. I stared out the window and noticed some lilacs blooming, and the bright green of the apple blossom tree outside. Is it an apple blossom (or crab apple)? I noticed my face in the mirror, and felt I exited the bathroom and shut the door behind me my chin and neck I looked at myself in the mirror and walked around my bed and out of the room. I waited three intervals at the south end of the L__________. I then walked to the right angle of the L_________ and looked east. I stared at the light coming through the vent, then walked to the east where Helen’s room is and looked at the light from that angle. I then stayed for two intervals of blinks and walked towards the kitchen door. I paused to notice the glow from the alarm keypad on the wall. It was like a neon shadow. I want to photograph that glow 
My end time today was 6:58. This action was just over 10 minutes today. It is now 7:41. I have been writing for 40 minutes



X study



Columbus studio, July 2019


Deconstructed Toile



Toile detail

Sharp studio, July 2018

Monoprints


Evanston Art Center, Shape of Now July 2018

Monoprints, are created from the tabletop discards from my dressmaking practice. Call it a round-up of the remains. This is a form of drawing as by-product of the design process, rather than a precursor. It is a form of journaling that takes place alongside my dressmaking process. Sewing involves many sequences of spins and turns in harmonic tension: the spin of yarns, the rolling of cloth, the unspooling of thread, the turning of hand cranks and take up levers. The scroll of the lint roller is a culminating turn, picking up the aftermath of what has transpired on my table top, but disassociated from the outcome of a garment


Pinpoints/Patterns


Pinpoints/Patterns installation  8' x 15' thread, pins, ribbon, cloth, chalk

This is a wall installation for a two-person show at The Saw Room in Evanston, Il. I collaborated with John Terdich to create an installation that evolved throughout the Pinpoints/Patterns exhibition. We both began by stripping down to the basic elements of our respective design craft. Both John and I utilize the by-products usually discarded from the process stages to create new narratives and societal discourse. I create visual work from the remnants of my dressmaking process, using thread as my drawing tool and connective device. I structure through needlework a crosshatch of materials to establish a new value for what is typically discarded, revealing what is commonly concealed in the facades of fashion. John Terdich, begins with a tool of the sign making trade - pounce patterns. This drawing technique applies layers of images or text and blurs the distinction between them. 
installation details



photos: Ross Martens

The Saw Room @ Alley Gallery, April-May 2018


Material Becomes the Thing: Works in Cloth

Solo Exhibition                                           
Aron Packer Projects at Space 900/ 1042 Wesley Ave / Evanston / November 11-13, 2016

 
Image- Toile III, thread, cloth and leather. 2016 24" x 30"  Photo: Bill Burlingham

My practice is an ongoing discourse between art and design. I acknowledge the unstable distinctions between the two disciplines, and my investigations unfold in this unstable territory, continually questioning how the body is figured through fashion, place, and labor.

Dressmakers are often confined to small spaces, small motor skills, mechanical cycles and repetitive processes. Handiwork is concealed in the inner linings of a garment. I don’t always want to stay inside of a dress. How can I use my skill set to ad(dress) rooms that the body occupies? How can I build coherent relationships from disparate parts? How can I connect the flow of raw material in my studio to a larger material stream and thought process?

Line is the fundamental element in my stitched drawings for Material Becomes the Thing, as line is the fundamental structure of cloth and dressmaking. It exists as a filament, a fabric grain, a tracing, a seam, a hem, and an opening. My raw material for this work is a by-product of my dressmaking process and comes in parts. Thread is my connective device to reintegrate cloth fragments and garment remnants into coherent visual relationships. I structure through needlework a crosshatch of materials to establish a new value to what is typically discarded, a new surface to reveal what is commonly concealed in the facades of fashion. 

- Kristin Mariani

Armscyes


Photo Credit Bill Burlingham

Orphaned Fragments: the dissection of particular parts where two things intersect.

This is a series of stitched drawings that I'm developing from my understanding of the armhole as a dressmaker.  It is my closer investigation of the technique of sewing a set-in sleeve, and on the word "armscye" itself.  I was fooled by the word for the first decade of my dressmaking as I was mastering the technique, because most dressmakers refer to and pronounce the opening as "arm's eye."

I'm making these drawings from deconstructed fragments of the armhole, with attachments to other parts pulled from seam allowances.  My drawing process provides a way for me to consider both the construction technique and the devolving of the word "armscye" from etymological fragments.  The dictionary does not provide a clear trace of meaning, nor is it clear that these are drawings of the armhole.

A set in sleeve looks effortlessly beautiful on the outside--a curved arch that holds space for the arm's mobility--however the inside reveals the awkward, imperfect hand work needed to ease the relationship between the sleeve and the armhole.  I'm most interested in these imperfections found on the inside that trace the work of the human hand. I'm purposely distorting the standard pattern technique to balance the arm hole, repeating the compositional format with different results.

Armscye 1 and 2 for ARTwork 6
January 19 - February 1, 2013

A Slip of the Handling

  Photo Credit Day Still 


A Slip of the Handling is a table top styling session that animates the thoughts, gestures, and feelings that go into my design process for RedShift.

Revisiting the designed objects, the table top becomes a playground where materials come within reach of hand and eye again, and the things made go through a blurry process of valuation.  How might the object’s use and value change post-production?

For me the photo session serves as a bartering act between the photographer/camera and myself.  While the camera creates a state of fixation on the object, I rejuvenate my design impulses to transform the materials.  In this mediating session, the hand becomes an instrument of thought and prop for the product of labor, and maker becomes partner in the fetishism of the object.

RedShift for db12, Volume 2
Second-hand Skins
Photo Credit Day Still