(s k i n o f a w a v e) – First Friday in September

September 1, 2009

Eva Wylie

Eva Wylie

Opening Reception: September 4 at 7:00 PM, Anthology Reading to follow at 8:30

Exhibition up through September 26th

Imagine the words and the page they are written upon as being separate. The letters become a delicate lace, forming small windows within an a, or an o, larger windows between each word and paragraph. The lace of the letters floats over the white page like foam on the skin of a wave. The words are carrier birds, charged with voice and meaning. But, what is the page?

Consider a line of poetry:

said the fish: lift me. fell me said the ash.
and the stars went suggestible to shape.
~Eleza Jaeger

To understand this poem, the reader must participate in visualizing the images the words introduce. The reader must rummage through her own memory until she finds a suitable likeness for the fish, the ash tree, a formation of stars in the sky. This process benefits both the reader and the poet. Without the exterior cues that the poet’s words provide, the reader’s memories would lie sleeping, possibly fall away. Without a reader, the poet’s words are equally dormant. The white of the page isn’t empty, it is full of all it allows us to imagine. The page becomes a screen on which we can see the poet’s thoughts and the reader’s memories collide. It’s here, that an exchange takes place and a new, collaborative image is formed. This exhibit is meant to explore the possibilities of exchange that can take place in these blank spaces, between artists and poets, artists and musicians, and artists and the public.

A r t i s t s a n d W r i t e r s: Emily Harris, Eleza Jaeger, Hil Jaeger, Katie Parry, Eva Wylie, Julia Schwadron, Geoff Hilsabeck, Eliza Fernand, and Ben Estes

A r t i s t s B i o s

E v a W y l i e is a print-maker living in Philadelphia, PA. She received her BA at Allegheny College with a years study at the Studio Art Centers International in Florence, Italy. She went on to receive her MFA in printmaking at Tyler School of Art in Pennsylvania. She has been awarded numerous grants including a fellowship from Skowhegan School of Painting and Sculpture, a PCA Grant, the Ora Lerman Trust Artist Residency, and the Bracht Award from Tyler School of Art. She has had solo exhibits at Vox Populi Gallery, Moore College of Art and Design, The Fleisher Art Memorial, and The Philadelphia International Airport. She has participated in many group shows including, A Delicate Constitution: Reconsidering the Decorative Aesthetic at The Philadelphia Art Alliance and Pattern and Decoration at Made Gallery, Chicago, IL.
In her work, she organizes found images into an elaborate ornamental design. The ornamental, is depicted on the surface within a spatial context. This allows her to convey conceptual layers that mirror the layers that exist in the process of screen-printing. To construct a complete colored image, you need at least four color screens. Each color contributes essential information. Without black, there would be no under shadow, no evidence of weight. Eva uses found images such as the label of a water bottle depicting an idyllic mountain spring and makes this label a window through which a different reality is presented. The viewer has a personal relationship to the image because it is a common cultural reference. This relationship bumps up against the context through which it is employed by the artist and an exchange occurs. e: www.evawylie.com

J u l i a S c h w a d r o n is a painter, who taught at The University of Iowa in the Painting and Drawing Department. She received her BA from the University of California at San Diego and a MFA in Painting from Tyler School of Art in Pennsylvania. While working towards her MFA, she attended a summer session focused on critical theory at Temple University Rome. She has participated in a many group shows on the East Coast and now in Iowa. Recently she was featured in the Iowa Artists, 2008 show at The Des Moines Art Center and Icon, Iowa at Icon Gallery in Fairfield, Iowa. She was awarded the Joan Mitchell Fellowship from the Vermont Studio Center and the Jacob K. Javits Fellowship. She attended residencies at the Virginia Center for the Creative Arts, the Oxbow School of Art, and the Hambidge Center.

Julia creates paintings that are derived from a combination of references, photographs or images of other paintings. Others are concentrated portraits of discreet objects, such as a bouquet of dead flowers, or the depiction of a jigsaw puzzle, which as paintings can push the viewer past initial recognition. These paintings are not meant to force the viewer to think through specific narratives, but rather to inspire a kind of remembering, recalling, or deja vu. The process Julia uses to paint involves layering several perspectives onto the same canvas. She may be looking out a window and painting what she sees ten times in one day so that there are layers of light and color, captured across the distance of the day. e: www.juliaschwadron.com

E l i z a F e r n a n d Eliza Fernand is a mixed media artist living in Oakland, California. She received her BFA from Pacific Northwest College of Art in Portland, Oregon. She has participated in myriad of performances and exhibitions including Volcano Love at Lumen House, Skelatal II at the Bowery Poetry Club, and Flight of the Mechanical Bumble Bee at the WCO Center in New York City. She has attended residencies at Lobot Gallery in California, 2Angles in France, and Peters Valley Craft Center in New Jersey.

Eliza’s sculpture, installation, and performance works thrive on the combination of sensual and familiar materials; the interaction between our bodies and objects in space; and the fluctuating border between reality and surreality. By converting old clothing and bedding into fabric collages, She plays with an arrangement of memories. Upon recognizing a material from your past, a history of associations plays in the viewer’s mind. Each viewer experiences the collages differently by employing their own particular recollections, while some images and patterns will evoke collective reminiscing. e: www.elizafernand.com

E m i l y M. H a r r i s is a Brooklyn-based artist, originally from MN. She received a BFA from Kenyon College, OH and has exhibited her work in venues in New York; Ai Gallery and Bridge Art Fair, Chicago, IL; and internationally at 2B Gallery in Hungary; Bratislava, Slovak Republic and The Museum of Arts & Crafts, Itami-shi, Japan. She most recently participated in a three person show at SUBLETTERS GALLERY in Bushwick, Brooklyn entitled “Wild Combination.”

Her love and familiarity of the Midwest’s blonde fields and open skies inspire her drawings and textile work. Combining a geometric playfulness with material pattern and texture, she collages different types of fabrics and prints to create intuitive and wonder-filled sculptural vignettes. Recycling old fabric and prints, she calls attention to the inherent beauty that history and experience have on material objects. She uses collage as a means of reconfiguring experience to suggest a multitude of possibilities for understanding one’s path. The bold lines of the mono-prints become multiple windows, filled with patterns and light, spliced and translucent. The patterns become the figure’s thoughts made visible. Because we see the thoughts as abstractions not illustrations of something concrete and incontestable they are open for us to enter into and use. e: www.emilyharris.com

G e o f f  H i l s a b e c k is in need of some bio info.

K a t i e P a r r y received her BA in Studio Art from Kenyon College in Gambier, Ohio. She moved on to complete her MFA in Fibers from Tyler School of Art in Pennsylvania. At the finish of her first year, she received a scholarship to study in Rome, Italy for a summer class focused on critical theory. After graduation, Katie taught and exhibited her artwork in Michigan, Philadelphia and New York. She was most recently featured in the group shows By-the-wind-sailors at the Flux Factory and Admirer at 31 Grand in New York City. She is now living in Iowa City.
Katie has been focused on making animated drawings that incorporate music, dialogue and carefully crafted two-dimensional sets. The sets weave together 3-d drawings, watercolor, layers of transparent material, and light. When she relocated to Iowa City, she created an art collective with Eleza and Hil Jaeger. Eleza is a poet who is presently creating a mythology based on stories her father told her when she was young. Hil has taken aspects of Eleza’s poems and set them to music. Katie is translating the images the words of the poems inspire into something visual and alive.

H i l J a e g e r is an electronic composer, musician and DJ. Trained as a classical pianist, she studied under renowned pianist Marjia Stroke and contemporary composer Bruce Adolphe. At 17 she won Lincoln Center’s Musicians Concert competition and performed at Alice Tully Hall. After becoming immersed in electronic and modern composition, she is now focusing on exploring the connection between voice and electronic sound. Her songs intertwine sequencing, live instruments, samples, choirs and multiple takes of her own voice, and are solely performed, recorded and produced by Jaeger herself.
Currently she is working with poet Eleza Jaeger and visual artist Katie Parry to create a live performance piece, during which she programs, layers vocals, plays and sings live while a visual landscape of stop motion imagery is projected onto the stage. e: www.myspace.com/hiljaegersound

E l e z a J a e g e r spent her undergraduate years at Williams College, working closely with Louise Gluck on a thesis which went on to win The Bullock Prize for Poetry and the the esteemed Hutchinson Fellowship Grant for emerging artists. Eleza continued to write after graduation, working with Dean Young and Mark Jarman before being accepted to the Iowa Writer’s Workshop. She is currently teaching Creative Writing at the University of Iowa and working on a manuscript of new poems.

B e n E s t e s is a MFA candidate in Painting at The University of Iowa. He refers to his paintings as “dusky.” The paintings belong to a time of day that holds onto light as we hold onto memory. It is a time of changing over. For a moment it is both day and night; we see one in relation to the other. Then day is replaced by night before our eyes. This is always happening but a painting holds the moment still enough for us to notice. With slices, revealed layers, and cut-aways in the canvas he asks the question, “What is it to look at, and what is it to look through?” Why do you see beauty in other people that you can’t see in your own face? If you see these things in a painting will the painting reflect this beauty back to you like a mirror? Can the painting show and give? If this is possible, than an exchange can occur between the artist and the viewer made possible by the lens that the painting provides. The dusky moment is what is true about day showing us night or what is true about us meeting what is true about the painting. Held, in one still frame.

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