Art Culture

Artistic Baggage

Rachel Chambers — Mon, 23 Jun 2008 18:51:32 +0000

Women's Billfold

Don’t judge a purse by its cover. No, that’s not a typo; we are talking about purses here…and book covers. It should be no surprise that the most well-read city in the nation is home to a designer who managed to turn books into handbags. Mary Lydia Ryan a Seattleite for the past 19 years has inventively created a brand new type of purse as well as a new form of functional art.

Mary was working a corporate job, one she was looking for a way out of, when a friend of hers bought a used bookstore. He asked if she thought she could do anything with the old books that had become too damaged, yellowed, and aged to keep. He jokingly suggested that she could make purses out of the books and the creative idea behind Mary Lydia Ryan purses was born. She began to take the books home, creating an inventory base that now overflows from underneath her bed into a full storage locker downtown. In late 2006, after creating the first models and finding that they needed some work, Mary partnered with fellow local artist Gary Parker to improve the designs. They added Kristen Bonnalie to the team as their seamstress and the trio began to produce a collection of purses, clutches, and billfolds. In the summer of 2007, the collection was officially launched and can now be purchased in several boutiques in the Seattle area. The interest in the bags stretches to Idaho and there have been talks of a carrier in Japan.

It may come as a surprise that the purses were not necessarily designed to fulfill an interest in fashion. If you ask Mary about her original motives in starting the project she will admit that it was purely accidental and that it stemmed from her need to do something creative after simply punching the time-clock for too long. When I met with Mary at Café Luce in the U-District to discuss her work, I asked her how she would compare her purses to the logo-laden bank account-draining designer bags that have waiting lists years long. She responded, “Well, I’m not a designer. I create them for their artistic value. There’s a lot of work that goes into them, but I didn’t create the covers. It’s more of a recycling project and I think that people appreciate them for being usable pieces of art.”

Women's Billfold

When asked what her favorite bag design was, Mary named covers with the titles The Very Naughty Girl and The Secret Life of Helen of Troy, both pieces that have an obvious tongue in cheek humor to them. Perhaps this layered intellectualism illuminates why Mary named Of Human Bondage by W. Somerset Maugham as one actual book that has really affected her. This book is a selection for an academic reader, to say the least, so I was surprised when Mary told me that she would not describe herself as a bibliophile. Rather, she explained that since starting the purses she has been reading a lot of older books that end up in her hands. “I’m reading more since I’ve begun the project. I’m not one to live in the past, but I appreciate the connection to human experiences. I love the unknown details of these eras gone by and I think that these books from the 20’s and 30’s are relatable and accessible on that human level.”

Cocktail Purse

Mary is a lover of vintage in her books, but also in her sentiments. One of the reasons that the bags are so unique is that each one is individually made by hand. One of the ideas important to Mary is the idea of putting time and effort into one’s work. The bags, to Mary, are reminders of a time when people took pride in their craftsmanship. “That’s just not a product of our culture anymore,” Mary points out, “I’ve debated mass-producing them, of taking them to China, but there’s an appeal to the authenticity of the work that went into the covers and I want to honor that.” Mary does not mass-produce, instead creating each purse in a four-day process of construction. The pages are removed and the book covers are run under a UV light to kill any allergens or mold, the covers are then refurbished and reinforced. After that the fabric inserts are measured and created then adhered to the book using a heat process, this is followed by days of drying time. The inserts are all made of elegant, high-quality silk blends and picked to accentuate the design and coloring of the book cover. It is a time-consuming process and one that has slowed production for Mary since her creative team parted ways a few months ago. The demand, however, is still high and exposure though her website and through pieces–like in January’s issue of Seattle magazine–seem to show that there is a market for these pieces of wearable art. A recent Vogue feature highlighted the small pursues, or minaudiéres, made out of seashells by designer Tina Maristela Ocampo proving that Ryan isn’t the only one who sees that recycled art can indeed be high fashion. As to whether or not she’ll be able to reach the demand Mary says: “I’m just going to keep on working. Things in my life seem to go in cycles and I’m sure I’ll have more time for these soon.”

You can buy Mary’s bags at Harem in Capitol Hill, Frenchy’s in Madison Park, or Bella’s in Ballard. See a more complete list of stores at www.mlrstore.com.

Mary is also a talented singer/songwriter. Check out her website marylydiaryan.com or go to her show Friday June 27, 2008 at Harem in Capitol Hill.

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An Odd But Elegant Process

Morgan Greenseth — Wed, 18 Jun 2008 18:56:24 +0000

Oddly Elegant Exhibition

After brewing a cup of tea, we hardly even consider the possibilities of a used tea bag before we toss it in the trash. In general, little thought is given to what we discard and any alternate uses it may posses. Although a majority of us don’t ponder prior to tossing, one exemplary artist, Tilla Kuenzli, showcases her couture creations that emerged from diverting “useless” items from the waste bin. “Oddly Elegant” is a work of art, a performance, and a statement that is both admirable and rousing for all audiences.

Initially Kuenzli knew that she wanted to create pieces without spending any money; not out of financial need but rather guilt. Most art materials that must be purchased are toxic, such as paint; more eco-friendly options were desired. Also driven by her frustration with waste and boredom with current art, Kuenzli was drawn to selecting materials straight from the garbage. Being that she is familiar with a variety of creative outlets, her unusual yet common finds were a perfect palette. As most people would see exposed film as a perfect candidate for the dumpster, she sees it as a new fabric to sculpt the body with.

The work became something of a social study when collecting materials. Many friends were eager to participate, especially with the collection of used teabags. They drank, dried, and saved hundreds of bags for the project. Once the final piece was presented, some boasted while others were simply pleased to have been a part of her creation. Conversely was the collection of hair. As organic in nature are tea and hair, society seems to view them in quite opposite ways. Hair, when attached to a head, is beautiful yet once detached it becomes disgusting. Kuenzli experienced this opinion many times when she collected hair from salons and barbershops. These observations of society’s obscure beliefs fueled the work even further, confirming the need to express her point of view on what waste is.

Waste is an end to a process; Kuenzli strove to counteract this by putting it back in the cradle cycle rather than a grave. A key element to “Oddly Elegant” is process, and not just creating the work itself. From the obtaining materials, to thinking and designing, to creation, and even further to the setup and showcase of the work, all was intricately focused on natural process even if the elements were artificial. People played an important role in the process and were integral to the outcome. As the used objects were once a part of their life, they brought them to life in her work.

What emerged from the process of designing with found materials were five wearable pieces, each with its own identity, transforming into creatures when worn. Kuenzli created a living space to showcase her creatures in which we can observe their real life process. Burnt light bulbs dangled from the ceiling, as they were raindrops frozen in time. One wall is plastered with conceptual drawings and notes of the whole intense process, enabling us to appreciate the work further. The creatures themselves moved about the space, interacting only with each other in silence and enjoying fruit stringently selected for their symbolic forms and their visual beauty. Always changing and living, even the presentation continues the process.

Kuenzli’s attention to detail and extremely thoughtful work process composes a solid foundation extrudes to present and defend a compelling exposition. By including people in the art through interaction and contribution, it is instilled in our memory. Her statement on our impact on the environment arrives at a crucial time, yet demonstrates optimism and the beauty possible once we notice and accept this actuality. It definitely makes us think twice before we discard.

Already shown at Cornish College of the Arts 2008 BFA Showcase and the Henry Art Gallery in Seattle, WA; “Oddly Elegant” will perform two more times over this summer before a reception at the Fred Hutchinson Cancer Research Center in mid August where it will be displayed for a year.

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A Brief Evolutionary History of John Waters

Rachel Chambers — Thu, 12 Jun 2008 07:56:22 +0000

John Waters

“When I was a young, ‘art’ meant dirty.”—John Waters

John Waters is a man of many hats. Well, I have never seen John Waters in a hat, so perhaps it would be more appropriate to say that John Waters is a man of many coats. There is the special coat he used to steal records during his youth in Baltimore followed by the coat that he wore to flash Tracy Turnblatt in the insanely popular remake of his original film turned Broadway musical, and, the most recent, the fashion-forward and weathered denim coat he wore to lecture at Benaroya Hall in Seattle on Tuesday, June 3rd. The event was presented by Seattle Arts and Lectures along with the Seattle International Film Festival and was an interesting addition to SAL’s lineup of authors.

The coats may not be important. They are the least interesting of John Waters’ choices, but they are a good marker of moments that signal some very important steps in John Waters’ career. Perhaps they also help in explaining how John Waters managed to be an important, controversial Hollywood figure without succumbing to the mediocrity and untouchable attitude that too often seems to be on par with mainstream success. John Waters is simply who he has always been—the kid from Baltimore who likes to shake things up. When asked by the audience, “What about yourself do you think would surprise people?” Waters answered that he didn’t think that anything would surprise people. This seems true enough when listening to the man who spoke on Tuesday night.

Waters talking with fans in costume.

Waters is raunchily funny but also continuously charming. It was most likely this charm that helped him to convince his friend Harris Glenn Milstead to take his acting skills and willingness to dress in drag to the big screen as Divine. Waters early films were no-budget pieces that were usually only a few minutes long and were never made available to the public. In the sixties, though, it wasn’t about budgets or exposure; it was about art and having a great time. Waters says that he and Milstead would do things, “just to see if we could,” and this attitude led to his art. He is a sign of a time and a mindset that was refreshing in the 1960s, but also extremely empowering. In today’s political climate his ideas are equally as poignant. John Waters has never gone out of style, but his core following is surely expanding as our culture becomes once again saturated with the disaffected youth that Waters made himself an artistic pariah for. See, when John Waters was stealing records with his special coat he was also making films that were pushing the boundaries of what was acceptable in the film community—even what was respectable in decent society. He recalls filming a reenactment of JFK’s assassination in 1970 for a ten minute piece called The Diane Linkletter Story—with Divine cast as the first lady—and thinking all the while that it might be too soon, but it was just too great to not do.

John Waters is well-spoken, affluent and obviously has good taste, which means that he does trash because he chooses to. He picks characters and themes that he has a very real amount of respect for, and his films are designed to be a celebration of them. He cast Divine at the center of his early films because he genuinely loved Divine and he loved the idea of Divine. By the time he made Pink Flamingos he had graduated from 8 mm film and simple story lines, but his main goal still seemed to be to shock. His “Trash Trilogy” is an ode to all things filthy and in a way a love letter to the down and dirty things that no one else wanted to put in a movie. The films, Pink Flamingos, Female Trouble and Desperate Living are classics among Waters fans and signal a high point in the early part of his career. He topped this era, also known as his “High Filth” period with a gimmick that would help to cement his image as a showman as well as a filmmaker. Polyester came out in 1981 complete with “Odorama” cards with which audience members could scratch-and-sniff smells in the film. “Odorama” may have been a big draw, but Polyester was likely also a big success for Waters because it was the first of his films to avoid an X rating.

Seattle Arts and Lectures raffling off vintage autographed flamingos.

Waters drew his inspiration from other “shock” directors, but he took their ideas of cinema and shock gimmicks a step further by being a link between the world of trash and the world of refinement. Soon he was melding his unique brand of shock comedy with more complete story lines and bigger stars. In Polyester he had used most of his normal troupe of actors, known as the Dreamlanders, in much smaller roles and this trend continued in his next film Hairspray where Ricki Lake, Sonny Bono, and Debbie Harry shared the credits along with Divine as a doting mother. Next came Cry-Baby starring Johnny Depp, Serial Mom with Kathleen Turner, Pecker with Edward Furlong, and Cecil B. Demented with Melanie Griffith. By the time A Dirty Shame (with Tracey Ullman and Johnny Knoxville) came around, it was obvious that Waters had gained the notoriety to tap big names for his films that would guarantee a degree of media interest. Waters, however, wasn’t just using these actors for their names—Waters likes playing with the public personas of his stars. He dirtied up Johnny Depp’s teen heartthrob image, he made Kathleen Turner a serial killer, and he gave Melanie Griffith a turn as a self-obsessed showbiz star turned cinema terrorist. These movies, too, marked a time when Waters learned to craft the subtlety in his satire that makes you feel more like he’s smirking at you from beneath his pencil-thin mustache rather then accosting you with an over-the-top shockfest.

By 2007, after a successful run on Broadway, Hairspray was being made into a film yet again. With a mix of big names and kids fresh off the Disney channel, it was a bigger, brighter, version of the original with a budget of seventy-five million compared to the original two million. It was written and produced by Waters, but it didn’t look like his picture. He appears briefly in the opening musical number and whips open his coat to flash the main character—and for any Waters fans in the audience, to remind them that he is still the same John Waters that would appreciate a flasher during a cheery musical number. The impact of this film shows just how satisfied Waters is with how far his work has come. He is willing to create something and then let someone else put their own ideas into it. He is a collaborator, but also a teacher. Waters does this through his films, yes, but he also fills a more traditional role through his lectures and his teaching—both in prisons and also at universities.

Fans Brian Reed and Patty Souvenir.

Speaking on his craft and his life John Waters has cemented himself as a respected and recognizable figure for his contributions to film, but also for his role as a champion for society’s outcasts. He is lauded within gay and lesbian communities and film circles alike. And the crowd that came to watch him speak is an indication of his varied influence: his audience ranged from finely dressed middle-aged couples to twenty-something men dressed in drag. Waters spoke conversationally on a range of topics often letting a tangent take him somewhere that was unplanned. The lecture was a mesh of hilarious commentary about the state of society and filthy tidbits that had people groaning and laughing simultaneously. He’s not a juvenile delinquent anymore, but it’s fairly clear that growing up hasn’t changed his sense of humor only helped him to craft it. At the after party at the W Hotel, Waters joined diehard fans that had paid upwards of one hundred dollars for “Divine” tickets in order to meet him. What was probably planned as a cocktail party with Waters mingling with fans turned into a meet-and-greet the moment he walked in the door. His fans thronged him with movies and books in hand for him to sign. Eventually, Waters took a seat, creating an interesting image as several fans took the initiative to kneel at his feet. One long-wigged drag queen brought to mind a pastoral of Mary Magdalene washing Jesus’ feet with her hair; the blonde nylon locks brushing Waters’ sneakers. After readjusting, the fan quickly stood up, pulled down his skirt, and asked Waters to sign his ass. It is an irony that Waters would appreciate. At the end of the party, I finally got a chance to take a shot. The line had been cut off and Waters was tired after almost two hours of smiling for pictures, answering questions, and refusing hugs (he’s not a hugger.) He stood up to go, adjusting his coat before turning to shake my hand and offer me a sincere thanks for coming. Shortly after he left the celebration had all but died out. John Waters’ work may not be for everyone, but without him, the party is suddenly a lot less fun. Maybe art doesn’t have to be dirty, but thank God there are those who like it better that way.

John Waters is currently working on his next feature length film Fruitcake.
Seattle Arts and Lectures will begin its 2008-09 series in September with Richard Russo

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Another Man’s Trash….

Morgan Greenseth — Fri, 06 Jun 2008 16:38:17 +0000

Sustainability is slowly becoming a part of all aspects of our lives. From organic cotton tees, to reusable shopping totes, to hybrid cars; there are very few parts left untouched by the “green” market. Now, we are even seeing eco-consciousness in the works of artists. Although some creations make a statement about our impact on the world, others simply find beauty in these discarded objects and want to rescue it from its junkyard destiny.

Try to remember your first encounter with a plane magically soaring through the sky. This feeling of astonishment as most of us felt as a child, is encouraged through Ron van der Ende’s “Motor Memory” as he recreates the innocent spectacle that technology and industry once had. His new dimensional works at the OKOK gallery in Seattle, WA use salvaged wood to reestablish industrial icons.

Ron van der Ende - Motor Memory

Van der Ende’s work is long and intricate process that can last four to eight weeks once an image is selected. With salvaged wood, nails and glue as his medium, his detailed mosaics using the existing colors of the wood sliced into thin veneers are composed on a preliminary plywood form. Then more detail is given to wood shape, nail patterns and color gradations to create a luculent perspective. These pieces showcase man’s selfish desires in these nostalgic images so that they don’t remain forgotten.

In an opposite direction from a similar base point is Gregory Glynn ’s “Higher Ground” at the Catherine Person Gallery in Seattle, WA. Glynn transforms the organic nature of salvaged tress into modern forms in which its history is revealed through the transformations in its grain. Instead of leaving these trunks and branches to decompose and return to the soil, he discovers and exposes their inner beauty.

An initial idea of the outcome starts Glynn’s process but once the layers are unveiled, the piece begins to define itself. He carves, chisels, penetrates and even sews the body of wood to showcase the various potential that each encompasses. Sealed in beeswax, all but the handmade stand is natural. Ultimately, the simple, elegant forms which still transform as they play with light and shadows, try to reinstate our connection to nature and the world we live in.

OKOK Gallery
5107 Ballard Ave. N.W.
Seattle, WA 98107
“Motor Memory”
Through June 7th

Catherine Person Gallery
319 Third Avenue South
Seattle, WA 98104
"Higher Ground"
Through June 28th

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Erwin Olaf

Liz — Thu, 05 Jun 2008 21:48:42 +0000

Edwin van der Sar - Erwin Olaf

Erwin Olaf, born in 1959 in Hilversum, The Netherlands, has a passionate love affair with life, and fully enjoys everything that it has to offer. An ever-rising photographer, his work constantly garners new attention, and maintains the respect of his loyal fans. His ‘oeuvre’ is a manifestation of his incredible passion and genuine engagement with subjects. Olaf has been professionally active for over twenty-five years, and in this period he has succeeded in evolving from a participating photographer to a director who creates his own reality. Olaf’s pictures are filled with humor, imagination and exuberance, but they go much further than simple visual intrigue. His work broach ideas and visions of freedom, beauty, loneliness, and being different. He convinces his public in a shameless and versatile manner, questioning established norms. Olaf consistently expresses his own standpoints, fulminating against narrow-mindedness, smugness, and rigid norms, but not without humor, bravura and bite. An authentic Olaf is a blow to the head, ruthlessly direct, but simultaneously wrong footing the viewer and poking fun. One reviewer remarked that in Erwin Olaf’s photographs everyone stares unwaveringly into the lens–thus looking straight into the photographer’s big blue eyes, as it were. Olaf approaches the world openly and enthusiastically and this is also the way in which, in his work, he dares to enter the public debate. Olaf is a master in generating his own world, whether this be in autonomous photographic series or film projects. He is also hypercritical, nothing escapes him, so that pictures are created with a placement composed so meticulously that it is almost painful to examine. With these, Olaf manages to produce fictitious yet convincing images of bygone days, fairytales and dreams, populated by historical figures, elves, dwarves, lunatics, and god knows who.

Olaf has just recently finished some stunning new photos for the Dutch national soccer team. The set is entitled “New Warriors”, and is a gross display of visual stimulation. They are shown in the gallery below.

Edwin van der Sar - Erwin Olaf

Gio van Bronckhorst.

John Heitinga

Joris Mathhijseen

Nigel de Jong

Rafael van der Vaart

Erwin Olaf

Visit Erwin Olaf’s Website

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Through Her Eyes

Morgan Greenseth — Mon, 02 Jun 2008 16:15:35 +0000

Art is a way for us to view the world through the eyes of an artist. We gaze at what they consider beautiful; which may or may not be the same as our interpretations of the adjective. Nevertheless, these works give us a new perspective to consider and learn from. Some artists choose to show the view of another person such as photographer, Angela Dawn in her latest exhibit, “Once Upon A Time” at the Sugar Gallery in Portland, Oregon.

Once Upon a Time tells, and shows, the story of one particular girl’s day after a serious of dramatic and life changing events had happened in her life. Although we are viewing the protagonist in the photos, we are able to see her day through her eyes. This world of fantasy is her reality and what maybe regular places for us is beauty to her everyday. After such a trying time in her life, the simplest gestures and textures offer an optimistic view for the future. Accompanying these snapshots of time are journal entry collages that act as a narrative and provide background information so that we can interpret and understand the whole experience of the day even more.

The images follow the girl as she shops a resale furniture store, bikes around town, and finally, crash at home after an exhausting and emotional 24 hours. Feelings of freedom, solitude, and melancholy are shown. As she tries out a sofa, it reminds her of a past time and she lays there just a bit longer reminiscing. Biking through the neighborhood is refreshing and gives a feeling of hope even from a place that seems to have none. At home, the comfort of an area rug and a playful kiss from her canine companion is the perfect way to end the day. We don’t need to know all the details of this particular day, because all the energy and feelings are transferred to us through this graphic diary.

Angela Dawn is a west coast native and surrounds herself in art everyday. Her first show was in 2003 at the Keiser Historic Center and she won best portfolio in 2004 from the Art Institute of Seattle. This was just the start of her creative career. Her present work focuses on fashion photography and fine art and she has presented her work in numerous group and individual shows.

A. Dawn believes that art is what makes the world go around and stated that as she walks the streets, all she sees is great shots. All of her shoots are unplanned, partially due to her Seattle residence and its reputation for finicky weather. She doesn’t work with models, but prefers to photograph regular people in regular environments. Scenarios are presented through her images; one that doesn’t require explanation. Art and life is fun and exciting for her, and her photographs demonstrate just that.

“Once Upon A Time” will be exhibited at the Sugar Gallery until June 31^st .

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Ms. Carry Art

Jordan Brooks — Mon, 26 May 2008 19:04:53 +0000

Aliza Shvarts

How would you feel about viewing Aliza Shvarts’ newest artistic creation? It’s a mixture of performance art, language arts and visual art; in this work she artificially inseminated herself and forced miscarriages upon herself, with abortifacient medication, not once –not twice; how about as many times in nine-months as she could following the following procedure. Using a syringe, between the 9th and 15th days of her menstrual cycle, she would artificially inseminate her cervix within 30 minutes of collecting sperm from donors. There is a very graphic account of this in her words as a Yale Daily News article.

Before I continue, if you don’t know who Aliza Shvarts is, it’s time you learned. Aliza is not just a senior in Davenport College, Yale, with awards for citizenship and leadership; she is also an acclaimed artist on many levels and is even regarded as “the first great conceptual artist of the internet age.” Her newest creation is intended to be a large cube suspended in the center of a room. The cube will be wrapped in hundreds of feet of plastic-wrap; smeared in between each layer of plastic will be blood from her self-induced miscarriages. Vaseline will be smeared with the blood to preserve it. Then a video will be projected onto all four sides of the cube showing her in a bathroom in the process of miscarrying her potential children. This was her senior project.

Aliza believes “art should be a medium for politics and ideologies, not just a commodity.” That’s what’s she has done with her latest piece. The common opinion, however, is that her art trivializes abortion. A less found opinion is by the Madonna-inspired jewelry creator of Onch Hard Candy who created her own “art” of sorts in the form of a necklace. It’s called, “Aliza Shvarts,” and it costs $45.00 and doesn’t come with the chain.

Aliza believes that her repeated self-induced miscarriages are indicative of an ideology she has that creates ambiguity in the branch of metaphysics pertaining to nature and transfers it from an idea to something able to be read. Furthermore, she believes personally that the most important aspect of this art is being overlooked, although she recognizes the political aspect of it; she thinks that the fact that nobody can distinguish the mixtures of blood from each separate abortion is indicative of an amazing impossibility, “[and has] not been discussed thus far." She prides the ambiguity of the entire work because of its cause for dispute. Who is to argue that the ovum was fertilized or not? She argues that the blood itself is cause for dispute; who is to say that it isn’t blood; who is to say that it isn’t period; who is to say that it isn’t miscarriage? She makes a statement saying, “the act of identification or naming — the act of ascribing a word to something physical — is at its heart an ideological act.” Her art is a representation of this. She retains authorship of naming her blood, period or miscarriage as such and then it forms as such in the perspective of its viewers.

She defines her art even further saying that the entire miscarriage is seemingly nothing more than a “linguistic and political reality” derived from her act of naming or authoring the work (a gruesome 9-month escapade.) She deems the purpose of this work is to strike at the foundations of the view of the heteronormative structures that seek to neutralize the act in itself. “An intervention of our normative understanding of “the real” accompanying politics of convention.” This relates directly to me because in my blog I also try and stir people who seem to be in the dark about the impact perspective and reality has on the everyday, for everyday. She is directly challenging the forces that I simply allow to exist, but trying to teach awareness of it, regarding conventions of typical “normalcy.”

It’s a profound statement and perhaps this was the only way that she could make it. Wanda France, the president of the National Right to Life calls Aliza a serial murderer.

Yale calls her a performance artist. I call her an intellectual, an artist and a psychopath. What do you call her?

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Living Images: Etsuko Ichikawa’s Ephemeral Eternal

Rachel Chambers — Wed, 14 May 2008 22:52:47 +0000

"Most of my installations are site-specifically designed, and light and shadow play major roles in creating the space." - Etsuko Ichikawa

Smoke unfurling from an unseen source. A jellyfish-like sea creature bending itself under the waves. A restless spirit caught in a photograph. These are all images that come to mind when looking at the works of Etsuko Ichikawa and images that convinced me there is a definite energy and life in her work. In perusing the pieces in her latest exhibition at the Davidson Contemporary gallery in Seattle one feels a continual flow of movement and energy from one piece to the next. The images are all made using the same basic method but Ichikawa manages to mix different elements and ideas in order to create three very different kinds of art.

All of her works are essentially glass pyrographs—images burned onto wood or paper using heated molten glass. This process is almost as interesting to watch as seeing the pieces themselves. A popular stop at the Davidson Contemporary was a small DVD player on a stand that plays a video created by Ian Lucero of Ichikawa at work. This is a great supplement to the pieces in that it shows the artist’s intense control over her craft. She has to deliberately wrangle fire with nothing but her own breath in order to create powerful images. The idea of breath is also important because it offers a great explanation as to why her pieces seem to be ever moving. Breath is constant within her work. An ever-present bubble of orange glass is necessary for the creation process, the use of her own exhalations burning art onto the page.

The series of pyrographs are beautiful and almost haunting. They seem to flow across the page with a similar lightness of movement, yet each work is unique from the others in its final image. The pieces evoke images of floating in water, dancers, or music as one would imagine it to appear before the human eye. On her website, etsukoichikawa.com, the artist states that she wishes to “capture and eternalize the immediacy of a moment” and she seems to do so brilliantly with these images. The exhibition is titled Ephemeral Eternal because it is these two states that she wishes to explore. Her unique pyrograph technique manages to bring to mind both ideas.

In her Tsurezuregusa series Ichikawa combines her pyrographs with essays stamped into the center of the burns using a letterpress. This combination is especially interesting because they both seem to be what would be referred to as out-dated occupations. Glass blowing is still practiced as is letterpress, but they are viewed through a certain scope of nostalgia and timely appreciation. Using these ideas as the medium to create images that are so present, so completely “of the moment” is an anachronism of sorts. These ideas also fit well into the idea of “ephemeral” and “eternal” in that they are both ways of creating something permanent. Smoke itself is impermanence, but the art of making something out of glass has a certain completeness to it. Once it cools, it will stay as it is. Sure it can be broken or melted down again, but it will cease to be in its original form. Likewise letterpress is used to create a permanent record of something. The fact that Ichikawa always presses the words directly on top of the burnt image gives the impression that she may be using the words to hold the smoky images to the page.

In the room farthest back in the exhibit one will find the series entitled Ephemeral Eternal which consists of 3-D sculptures of sorts created by the pyrograph technique covered in glass bubbles. These pieces are striking and at first they are reminiscent of fossils. The living image has been frozen underneath a solid covering of glass much like a mosquito in amber. The glass too seems to have been affected by the movement of the image below in that the surface has ripples and bumps that make it far more than a simple covering, but a testament to the movement that has been captured forever. The fact that these are the pieces that raise themselves off of the page makes them striking to see, but also makes them more like beings or creatures on display.

In these works Ichikawa creates a visual reenactment of something that we are continually trying to do –to retain something that is fleeting. Instead of taking photographs of a moment, which always seems to have a frozen quality, her pyrographs retain their breath, their life. We will never be able to hold onto an exact moment-to keep a wave upon the sand-but Ichikawa’s images show us what it might look like if we could.

Etsuko Ichikawa is a Seattle-based visual artist who is originally from Japan. Ephemeral Eternal will be on display at the Davidson Contemporary through May 31.

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The State of Design - International Speakers Announced

Brad Mahaffey — Mon, 12 May 2008 23:41:44 +0000

State of Design

Design Victoria presents DESIGN CAPITAL, Victoria’s design and business conference, running from Wednesday 16 – Friday 18 July 2008 at the Melbourne Museum as part of the State of Design Festival. Festival Artistic Director and Conference Curator, Ewan McEoin, says, “This conference brings together leading global innovators, designers, business figures, the media and industry to canvass the crucial issues relevant to the world of design and business from Victoria to the rest of Australia and beyond. It is a strategic event, looking towards a competitive, innovative future for Victorian design and Victorian business”.

Current research reveals 8% of Australian businesses use design services; in the UK it is 68%. This event offers both the design industry and the broader business community an opportunity to collaborate, utilise resources and improve the statistics.

Facilitated by Oliver Freeman, director of the Neville Freeman Agency, DESIGN CAPITAL’s program has been strategically designed to build a picture, across six diverse yet connected themes, of where Victoria sits in a competitive world, while also predicting new trajectories for design led business from Victoria.

Designing Identity
Design generates and shifts the identity of individuals, products, brands, and places – creating an individualistic, competitive edge. Deployed well, design solutions provide a double dividend - a return on investment and a return on imagination, creating iconic, strategic outcomes for business.

Place Making
Urban renewal and development creates environments and places to leverage new opportunities for business and community, yet these agendas should be co-dependent and complementary. Architecture and urban planning is crucial to shape the way we will exist tomorrow.

Designing Experience
Invigorating and constantly evolving but always competitive, our ‘experience economy’ harnesses design as a way to ensure consumer engagement, from the theatre of brand to the emotion of products and events.

The Opportunity of Crisis
Designers are well placed to respond to the imminent challenges of climate and society beyond client based output, as designers motivate for change, they create the products, environments and opportunities of the future.

Convergent World
A new generation of design service systems, products and production methodologies are emerging to respond to changing social, environmental, and consumer expectation. Technology-based design processes, digital networks, and sustainable manufacturing are all innovation-led business arenas worth watching.

Commercialisation of Ideas for Export
Plantic, Varian and Knog - three innovative Victorian exporters describe their pathway to market, illustrating the commercial potential of design and manufacturing fed from research.

Keynote international speakers include Anna Klingmann (New York), author of Brandscape; Alan Chochinov (New York), editor-in-chief of Core77; Emily Pilloton (San Francisco), founder of Project H and managing editor of inhabitat.com; Theo Williams (London) creative director of Habitat, Dan Hill, (Sydney), head of Online for Monocle.com, Oki and Akihiro Ito (Japan) of Nendo Design Studio and Jackson Tan and Patrick Gan (Singapore) directors of Black Design.

DESIGN CAPITAL is presented by Design Victoria and supported by Niche Media, the Sofitel, Melbourne Museum, R-Co, the Herald-Sun, the City of Melbourne, Mystique, Dalton, HiPP.com.au and The Carton House, Peter Rowland, Monash University, DesignSingapore Council, the Design Institute of Australia, the Australian Graphic Design Association and Euroluce Lighting Australia.

DESIGN CAPITAL will be held at the Melbourne Museum. To register or for more information please visit www.stateofdesign.com.au

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How-to: Hippie Fashion for ‘08

Janine Wilson — Sat, 10 May 2008 23:36:06 +0000

The hippie style is popular again, and just in time for spring or summer weather, depending on where you live. Florals and headbands are big, along with a dreamy, earthier palette for both clothes and makeup.

Hippie Styles

Flowy dresses in varying lengths are great for warm weather, and are very low-maintenance with a designer handbag for a night out or over a swimsuit for a day trip to the beach. For chillier nights, bell-bottom jeans are back! They aren’t my favorite look, but if you’re gonna do it, do it for summer, paired with a delicate tube top and a flower in your hair.

If the flowy, white eyelet dresses aren’t quite practical for where you live, you can still embrace the hippie trend with a flowy tank or peasant top with a pair of skinny jeans. For me, pastels get boring fast, so I suggest mixing some earthy pieces with outrageous colors. Wrap yourself in neons or super saturated colors like turquoise and deep purple. Or wear your pastels with a brightly-colored scarf for just a pop of color . For accessories, pile on large hoops and bangles, giving your look an almost gypsy twist.

Flowers , as mentioned, are another big look, so do it up like Carrie Bradshaw, with a flower in your hair, or pinned to your shirt or belt. A blossom can make a simple outfit instantly playful and feminine.

I did not expect headbands to make a comeback so quickly (it seems like that trend just faded), but I’m excited that they are. Purchase a fun headband to be worn wrapped around the head however you choose. Slip on a grade-school style hair piece or wear a band around your head like Pocahontas. Low on cash? Wrap your hair in a bandanna or an extra shoelace. Or follow this guide from Nylon Blogs and create your own headband look.

Strappy sandals, especially the trendy gladiator sandals , add to an earthy vibe this season. The gladiator strappys can be purchased as flats or as heels. If you prefer flip-flops, grab them in earth tones like olive or brown, or in a bright gold.

For your makeup, anything goes, but a watercolor -like application will work no matter what color palette you choose. Sweep light colors across your lids and cheekbones for just a wash of color, or layer on richer colors for more drama. You don’t have to go without your eyeliner, but blend it into the color of your shadow. Play lips up or down, and keep your eyebrows thick but kempt.

Even if none of these style points appeal to you, you can still take some direction from the hippie front - give out love, and take care of our planet .

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Scenic Listening

Morgan Greenseth — Thu, 08 May 2008 15:22:01 +0000

With "All Feet"

After climbing a tree, a mountain or even stairs up a tower, the breathtaking views available to us make the panting and pain all worthwhile. An experience such as this can be elevated further with the addition of music, just as songs heighten emotions in movies. By adding a soundtrack to everyday or even historic places, we can transform the way we perceive them. A current project in Seattle, WA uses this gesture as a statement against noise pollution and allows us to concentrate on the beautiful and subtle sounds that are muffled by the city.

The Volunteer Park Water Tower Project, created by Robb Kunz and the Audible Semaphore Group, uses the 360 degree views of Seattle from the 1906 water tower in Volunteer Park to present and perform for us the daily sounds that our ears cannot detect. For this project, a playlist was created by eight composers, with each track assigned to complement a specific view from the tower. Users follow a map which shows the precise positions they are to proceed to and then play the track that corresponds with the numbered view. Originally, self-service kiosks with headphones where intended, but due to security issues, participants must download the playlist and use their own mp3 players. Maps, music and information can all be obtained from Audible Semaphore Group website at http://www.audiblesemaphore.org/index.html

Each track and view incorporates a different theme, which is clarified by the music. Some play sounds of nature such as ocean waves as we look out to the sea. Others make the view of the trees blowing in the wind seem like instruments themselves. One track includes music heard from cars driving by and street conversations, whereas others hone in on church bells and somber tunes. Even a compilation is created as a match for the sight of the Space Needle and Frank Gehry’s EMP. It truly gives participants a sample of the diversity that can be sensed throughout Seattle, past and present, yet makes it available in one place.

Kunz, the project organizer, intended for this to be a way for us to notice and appreciate the wonderful things in everyday life. Ironically he speaks out against mp3 players and how they have created personal bubbles around people so that we interact less with each other. However, he justifies their use in the project because of the shared experience they create, even though they are controlled individually. We might notice different details, or see diverse scenes depending on time and weather, yet the underlying combination of the viewpoint and music links each participant together.

Not only does this project encourage the appreciation of details that we usually pass over, but it also encourages us to supplement our everyday activities and facilities we use, with music for instance. The Volunteer Park water tower currently includes an exhibit informing us of the park’s history, but by adding something as simple as music, the functions of the space are altered and it becomes an interactive museum, a concert, a public meeting space, a memory. This is a great example of how we can use existing structures in new ways.

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10 Controversial Art Pieces

Jordan Brooks — Mon, 05 May 2008 17:49:04 +0000

Throughout most of our lives, art has become progressively more controversial. There is a direct correlation between the acceptance of controversial art within society and with the artist’s production of it. This is simply because some artists exist in a world that consists of a never-ending quest for their next great piece of controversial work (because it’ll generate whispers and murmurs and sales; oh my!), as opposed to just searching for the greatest possible creation, controversy notwithstanding. So here is a list of 10 controversial art pieces I’ve compiled that keep or has kept the world eye-deep in artistic hullabaloo. The number-5 slot is reserved for our local, neighborhood murderer and number-10 is occupied by none other than Jesus Christ.

Number 10

For number ten I’d like to take a quick poll; please raise your left-hand if you like Jesus, and raise your right-hand if you like chocolate? Well, those of you with two-hands-up are going to love Cosimo Cavallaro’s deliciously eye-catching piece of art entitled “My Sweet Lord.” My Sweet Lord is a 6-foot replication of Jesus Christ in his memorable dying moments hanging from the cross, made of chocolate. It was displayed at The Lab Gallery in Manhattan during Easter of 2007. It sounded like a good piece to Cosimo, pun intended; I mean, Art Director Matt Somler agrees, that’s why he put it up for display. He abruptly changed his mind, however, within two days of its opening. He felt so fervent that he had made a mistake; he took the piece down and resigned immediately. He said he, “felt pressure from the religious community” or God, to abandon his post. Number ten kicks this countdown off with a controversial career-ending piece of chocolate art by this Russian artist.

My Sweet Lord - Cosimo Cavallaro

My Sweet Lord - Under Construction

Number 9

Number nine is another thought-provokingly controversial piece. Like a lot of good art, it can inspire heavy emotions. The work takes the form of three billboards depicting a single image three-times; each image has a different label describing the picture in increasing levels of detail. This projects onto the viewer one small, brilliant epiphany about the individuals that they are observing. “Two people not in love” by Peter Fuss is talked about because of the significant statement the image makes non-literally; moreover in respect to each varying perspective of intelligent life, specifically children of the neighboring McDonald’s.

She doesn't love him, he doesn't love her

They are together because they don't want to be alone

He pays her bills. She cooks him dinners.

Number 8

Number 8 is a structure that consists of 6 tons of wavy, overlapping, concrete slabs, entitled “Etroits sont les Vaisseaux (Narrow Are the Vessels)”. To me, this isn’t so creative. It wouldn’t be so controversial either if I didn’t use the term “structure” loosely. You see, this piece of work belonged to an art collector in Connecticut, and it sat prominently in front of his home; it was made by German artist Anselm Kiefer. The controversy around this “structure” arose when the collector was sued by the Fairfield Historic District Commission because technically, legally, Narrow are the Vessels is a structure of its own, with regard to its mass and gravity. The collector, who had to temporarily close the street to allow five large flatbed trucks to deliver the slabs to his property, didn’t object to the term “structure” and didn’t fight the case. Instead, he transferred it to Massachusetts, a state with less-imposed structure laws, for it to be displayed in the Museum of Natural Art, along with 30 other pieces of Kiefer’s art from his collector. The collector remained anonymous but did say he decided to replace that piece with another piece that can be moved more easily.

Anselm Kiefer's "Etroits sont les Vaisseaux (Narrow Are the Vessels)," part ravaged city and part graceful ocean wave, is 80 feet long and weighs six tons.

Narrow are the Vessels - MoMA exhibit

Number 7

Number seven is a diamond encrusted skull by Damien Hirst, “For the Love of God”, which costs $1.8 million. Shortly after it’s creation, a piece entitled “For the Laugh of God”, by Peter Fuss made it’s availability known. For the Love of God is nice and shiny like nearly 2 million dollars ought to look, this is true. For the Laugh of God, however, delivers the same gleaming satisfaction (complete with 9,870 diamond-substitutes) for considerably less than 99% of its sibling’s price. For The Laugh of God was made specifically for public availability; Fuss spent 18 hours of work making it and received 55 pounds for each hour he put into it. That’s not bad at all. Personally, it looks like this piece was collected by a Columbian drug-lord and his sub-urban counterpart. People speculate that Fuss created this piece to speak about the morality of art and money. I wonder if he knows it works both ways, opposite of each other, for each piece. I’d like to own either both of them or neither one.

For the Laugh of God - Peter Fuss

Number 6

Number 6 belongs to Angela Singer. If you don’t know who Angela Singer is by now, you may never forget. Angela singer is an artist from New Zealand and her artwork is a little unusual at worst and a little controversial, at best. I’m sure some people even find beauty in it too; we know she does. Angela is an activist for animal-rights and is wholly against vivisections, or the dissection of live animals, or anything similar to it. Well, technically I went too far; she’s not opposed to anything similar to it because she is an artist whose canvas is only, simply made out of dead animals. In particular it’s made out of dissected dead animals. That is to say, who-else can see the beauty that lies beneath animals, in their guts, but the preserver of the animal’s guts themselves? This reminds me of an old American saying, “A black man can tell black jokes.” An activist for animal rights can dissect animals for art as long as it doesn’t impose on their rights if she desires to. Singer says, “These carcasses highlight how grotesque natural beauty can become after suffering at the hands of humanity.” Suffering … she said it herself, she knows what’s up. Angela singer provided controversial art piece number 6 as a collection of art. Thanks Angela.

Angela Singer (born 1966 in Essex) is an English artist and animal rights activist who now lives in Dunedin, New Zealand.

Number 5

OJ Simpson - "If I Did It"

Slot number five can be held by no one else except for the convicted killer OJ Simpson. OJ beat the murder-trial, indeed, but he lost the civil one; so technically he is a killer, for the record. He plays one in his book too, “If I did it,” where he details to the reader what the commission of his crime would have been like IF he had murdered his wife, Nicole Brown Simpson. The release of this book caused a major outcry and fueled the calls for many book-burnings to protest Simpson’s use of Language Arts to collect money on his wife’s death. From the time leading up to the book until after its publication, OJ has maintained his innocence, similar to the “everyone in here is innocent” mentality adopted by inmates. Regardless, unfortunately, what the book-burners failed to recognize is that to burn his book, you must first buy his book and that produces money from its production. This seems to have been the case as CNN reported that his book soared as high as the number-two slot on Barnes and Noble’s top-selling list, too bad it only made it to number five on this countdown.

Number 4

Jeff Koons’s proposed piece, which, if realized, would be located at the entrance of the Los Angeles County Museum of Art.

Number 4 belongs to artist Jeff Koons and the proposed idea for his newest artistic endeavor. Be forewarned, it’s massive and it’s scary. It’s a 161-foot replica of a train being suspended by a crane hanging over the entrance to the Los Angeles County Museum of Art; this is similar to a giant shrub puppy he constructed in front of the entrance of another museum. This 161-foot replica will be recognizable from interstate 10 and would become a landmark for Los Angeles; that is if Koons’ dream sees actuality. The only thing this train and crane is missing is an automobile; I suppose patrons to the museum already have access to those. Some artists speculate that Koons’ proposed piece makes no statement and therefore isn’t art. Others say the statement is visible in the piece itself (perhaps the dying-down of LA Museum train usage), but they claim that that’s what makes it art. Whatever you believe you may soon see a train looming in the background of the Los Angeles skyline from the freeway all the way to downtown.

Number 3

Number 3 belongs to David Cerny of the Czech Republic. Cerny once suggested a masturbating woman as an installation to the top of a theater in France, complete with a water-shooting man that’ll occasionally douse the crowd. David prides himself on his enjoyment of making art that generates shock reactions in people. For instance, in Prague, David erected a statue of two kindly-seeming gentlemen. The men are naked, however, and every-other second their respective penis’ are reaffirmed into their individual grips as they shift from side-to-side shooting water, recognized as piss, down into the pool submerging their feet. You can even check-out a 360 degree view of the area by clicking here. David’s sculpture is cleverly entitled nothing less than, “Piss.” Enough said.

David Cerny's, piss has two bronze sculptures pee into their oddly-shaped enclosure. The stream of water writes quotes from famous Prague residents. Visitor can interupt them by sending SMS message from mobile phone to a number, displayed next to the sculptures. The living statue then ‘writes’ the text of the message, before carrying on as before.

Number 2

Gregor Scneider - The beauty in death

Number 2 is German Artist Gregor Schneider’s unmade controversial piece of art which can be referred to as, “The beauty in death.” Gregor Schneider’s newest artistic endeavor will be complete as soon as he has a volunteer who is willing to die in a museum in observance of spectators from another room. The controversy arises when some people suggest that, “What if no one sees any beauty in death? What if there is simply death in death?” He claims that no individual’s death in his piece will be in vein (and all necessary respects to the dying will be made prior to their death). There is much debate over the artistic value of this design, if any, and there was great speculation over whether Gregor should have actually been picked as number 1 in this countdown too.

Number 1

Number 1, however, belongs to David Cerny and his recreation of Iraqi dictator Saddam Hussein who, for this piece of art, is submerged in a tank of formaldehyde, better known as embalming fluid. “Shark,” shuts this contest down in terms of controversial art. Besides how any Saddam supporter feels, Shark, is a political piece that provokes the definition for controversial art. David created this art with his philosophical belief in the “impossibility of death in the minds of something living.” Which only strikes one thought within me which is: is he really trying to keep Saddam alive? At any rate, Shark is a realistic depiction of that despotic dictator we all have grown to know and view in obscurity so well.

"Shark" is a life-size sculpture of Saddam Hussein in his underwear, trussed up in ropes and chains, his arms behind his body, floating face down in a glass tank filled with greenish liquid.

artist David Cerny, curator William Hollister

Have some work you’ve found that you think is especially controversial? Anything that offends you personally? Please, leave a comment!

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