I thought a good start might be to talk about the main project I’ve been doing, since May 2006. Our two year lease is up this May and we’ve decided not to renew, so as I’ve been thinking about it, I will be planning for the residency in the summer leading up to August, and planning to move, either going for something in Europe or moving to another city in the United States. So I will also be thinking of this summer, and the residency, as a way of synthesizing what I’ve been doing and figuring out where to go from there.

The Fort Grunt project was also a fairly intense collaboration that had some successes and some failures and I think could be good for everyone to think about, for how we want to do the folio in Belgium, and maybe more focus for this blog?

(that’s me on the right, ben on the left.)

After grad school I was in Venice, Italy for a year, teaching printmaking and getting some projects going but in general not too happy with my post-grad school work. I moved back to the states in October 2005 (after a month in Holland and a show in Berlin) with live with my fiance at the time, and I had several pending jobs- but the relationship and the internship/teaching positions all fizzled within a month of being back, and I was left with very little options. Ben and I had discussed doing a project together if we lived in the same city- and since I had no pending plans, I moved down here to Durham, NC and managed to find a studio. This took unexpectedly long, as Durham is a growing city that’s quickly turning out most of it’s warehouses and cigarette factories for lofts and upscale restaurants. Nicer to live in, sure, but not so easy to find cheap space to work in. So we did find a space in the newly formed Bull City Arts Collaborative, along with a letterpress printer, a video documentarian and a musician. The space is downtown, and our studio is in the front, with several large windows- this wasn’t something we planned on, but were happy to work with. We have turned the one large window into the Aquarium, where Marcus and Dustyn have shown work, and we’ve been open for the monthly art walks in Durham, and somewhat successful at selling work.

The location in a way influenced the work a lot more than I would have thought. The public location, and the number of random people who would come through, had us thinking of working on small, discrete objects that would be ready to hang and sold for reasonable amounts (between $10 and $60)… more about this in part two. Another, lesser factor, but a factor nonetheless, was being next to a local gallery, Branch, that is a really nice space and sometimes has good shows, but mostly has tasteful hipster-minimalism type work, which I think led us to move against that and make more crowded, rough/painterly work with garish colors. This may have in fact kept the sales low, but it felt way too easy to make the clean stuff..

The first 4 months or so (May to August 2006) was spent working up a random number of things, getting the name (chosen from a list of several hundred we came up with, for it’s military-ness and also for how dumb it sounded), and in general just working up a number of possible ideas. We settled on working with a series of characters and scenarios that drew on comics, biological creatures, invented characters and desolate scenes. We had two solo exhibitions early on, in November 2006 and February 2007, then there was a lull until this past winter- no solo shows but numerous group shows.

Things that worked really well were in the first year, working together figuring out how to build a body of work, getting sets of work to a finish, experimenting (the large 20 x 8 ft wall allowed for working on numerous pieces at once), and planning new projects. In the second part I’ll write more at length, but this arrangement didn’t last- something perhaps of more interest for this group.

So I think some of the positive things to take away from this project have been:

1. Working out a number of ways for conceptual and formal collaboration.

2. Having the opportunity to have a store-front studio, being able to bring in a wide variety of people into the space, get reactions, etc.

3. The freedom of having a finite body of work, that I can break from, mine for further projects, etc.

That’s all for now. Hope to get the next post up more quickly.

Hi everyone-

I have enjoyed reading your ideas and seeing images of your work. I’m sorry that it has taken me so long to contribute to this blog again.

I want to share some images of an installation I have started called Lessons in Expansion. At this point it is not a site-specific installation, but rather the genesis of a multi-component environment that will eventually make its way out of my studio and re-form in another setting. It began with a drawing (approximately 122cm square), which is expanding to include other 2-d and 3-d elements and related handmade nonverbal “research and analysis” books.

In the initial dialogue about Love/Death/Life/Soul, Michael mentioned “increasing our creative challenges” and moving out of “comfort zones.” I have a tendency to jump from one piece to another, or one body of work to another, without fully exhausting enough possibilities for that work. Or if I have explored several possibilities, for example in a painting or drawing, those possibilities are usually buried under layer upon layer of reworking. Nothing wrong with reworking, but it might be beneficial to see those possibilities extend outward rather than being hidden forever.

By allowing 2-d and 3-d elements to be created as an extension of this initial drawing, I am challenging myself to stay with the Lessons of Expansion project for a while. By creating “research and analysis” books in which I observe steps of the project and respond visually to those observations, I am constantly excavating rather than covering. Some of the books so far include: Comfort in reproduction; Fear of expansion; Fear of compression; Random possible connections; and Documentation of documentation.

In the first photo, you can see the original drawing (still in progress), connected to 2 smaller pieces of paper by thread and glue. Photos 2, 3 and 4 are close-ups of the connecting area. The rest of the images are of handmade paper with monotype. I made the paper in such a way that it is thinner and more translucent in areas (the ovals), and has actual holes in some places. Each sheet was formed by two very thin sheets being laminated together, with thread embedded between the two layers. As of now, these are raw materials, but I will experiment with making 3-d forms out of this paper, perhaps lit from within.

Thanks for reading and looking. I will continue to post images of this project as it progresses… or digresses… or transgresses. To see my previous work, visit http://www.marysdrawings.com . I look forward to seeing you all in person, and continuing a discussion via blog in the meantime.
Mary

Happy Valentines day… Heres a quick shot of the new works in progress… somewhere around 60-70% towards completion. But everyday is a new day. Click on it for a bit larger view, I reduced it. 380 x 210 cm. Thats a bit over 12 x 7 feet

Well all, I am back to the blank canvas, today felt good working again. The museum asked me to keep working, thank god… so now I can create some new larger works. The space has effected my work in ways that are so simple and yet it has me wondering what will occur once the residency is over.

Basically I can get back from my work so I can see the whole work. Further just the ability to move around unhindered has me more relaxed, loose. As I was working I thought, “hey I take space for granted.”  Some of our production can be totally affected by studio space, working space in final installations, and thus creative space. Space is often the last thought when working, one thinks I just have to make do with what is here. Its a financial factor of course.

A friend in Holland started a project recently that is a “gallery” but it moves, it adopts spaces and presents projects.  Maybe its not too far to adapt that idea to form a global network that can share spaces for working. This space wont be mine much longer to trade. ; -)

Photo by Dordrechts Museum

Hi all, Lou suggested we add photos of works in progress, I thought I would kick it off. I am working out the final installation of a new show.

This was from today. I had originally planned to cut the wall in half but now I think I may draw on it and create an installation, that merges with the rest of the space. What you cannot see is the other side of the space is selectively painted white, although this view shows mostly the white area. I will have more details next week. No the trash is not part of it. At the moment I am just moving things around and working it all out.

Wall blocking entrance to space. Up until now, viewers could only peer through several holes.

Above View 1 wall on its way to something else.

Above: View 2

Today I was working and trying to push my work to another level. People who came into the studio were surprised that the work had changed so much. One thing I like in painting is that the possibilities are endless, and that goes for all plastic mediums. I thought I would start adding some studio notes to get more discussion going. Since process is on the table. So in art, can one move forward faster and faster propelled by ones momentum? Not just the speed of working, but the speed of the mind. I bring this up because I suspect why I am so destructive of much of my work is that the newer work progresses ahead of the existing work.

One big barrier apparently is imagination, how many ways can I move the paint, how many variations, surface, color, and mark making. Another is experience, the process begets new levels within a process. Things are learned, gained, and some things shed.

PUBLIC NOTES ON MEMBERS

Michael Markwick: Dordrechts Museum// Jan 26th- April 1, 2008

Deeper: After Relocation

Due to heavy interest the project where the artist adopted the museum as his studio will continue through April 1, 2008. Every weekend 12 -5:00 the public is invited to see new work and the artist at work in the museum. Weekdays are also possible for curators and gallerists via arrangements with the museum.

Tania Bedriñana
Structures of Feeling, 12.10-12.17.07
Galerie Ulf Wetzka- BERLIN

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Michael Markwick
Koninklijke Prijs voor Vrije Schilderkunst Gemeente Museum Den Haag, The Netherlands (Netherlands Royal Painting Prize Exhibition

dates/times: October 20/2007 -January 26/2008
Opening October 19: Only by formal invitation by the Royal Dutch Palace

Lou Joseph

As part of Fort Grunt, Lou will be participating in 3 exhibitions this March

In Richmond, Virginia, we are taking part of “No Danger”, a show of 100 printmaker’s paper airplanes, curated by Ed Bernstein (US) and Franco Vecchiet (Italy). We will also be showing “The Incident at Hubb’s Knob” at Gallery5, having previously shown this piece at PRINTED: Contemporary North Carolina Printmakers, at the Greenhill Center for NC Art in Greensboro, North Carolina- image below.

Fort Grunt will also be included in”Here Be Monsters” at the Flanders 311 Gallery, opening this Friday, March 7th. We will be showing Battle Royale #1 (below) and also selling our Skirmish series of drawings at the opening.