The Helen E. Copeland Gallery and the School of Art at Montana State University are pleased to announce the opening of The Material Verse, the Master of Fine Arts thesis exhibition of Matthew Levy. The exhibition will take place at the Helen E. Copeland Gallery in Haynes Hall on the Montana State University campus in Bozeman, Montana, March 4th– March 8th, 2019.
Levy’s thesis defense will take place March 5th at 11 am in the gallery. There will be a public reception for The Material Verse on Thursday, March 7th 2019, from 6:00 – 8:00 pm. All events are open to the public.
The Material Verse explores the role of materiality through the use of indigenous Montana clays and rocks. The culmination of Levy’s research into sourcing local materials, his sculptural works, and his clay panels seek to invoke the essence of the Montana landscapes and bring agency to these natural resources. The areas surrounding Western Montana are filled with a deep and rich history of mining and stewardship, where the resources of the earth were harnessed under the promise of progress and advancement. Butte is no stranger to the needs of industry, and through sourcing viable ceramic materials in the remains of the town’s once booming mining industry like the Slag walls of Silver Bow Creek, Levy seeks to give these spaces a voice.
Levy’s work is driven by three questions: how can he do the elemental compositions of his materials inform his aesthetic choices? Secondly, can materiality be expressed within the confines of the gallery space? If so, can the raw materials act as a vehicle for connecting sculptures to the land from which they originate? According to Levy, “These questions are paramount to my obsession with indigenous materials and their impact on my practice as an artist. I am determined to find a way in which I can tie the land and the materials I find to the art objects of my making.”
Matthew Levy received his BFA from University of Wisconsin, River Falls. He has been focused on woodfired ceramics for over 20 years and has exhibited nationally and throughout the Midwest region. A grant recipient of the DSEL Interdisciplinary Education Program, Levy’s research on sourcing indigenous materials has been recently cited in the book, Undergraduate Research in Art (Routledge Publishing, 2019). This has given his career a boost as Levy has been awarded a a residency in Tasmania, Australia for April/May 2019 where he will be participating in the 2019 Australian Woodfire Triennale. Levy will also be presenting at NCECA 2019 Minneapolis: Claytopia in March, bringing MSU’s International Wild Clay Research Project to a broader audience.
More information about Matthew Levy’s practices and ceramic works can be found on his personal website: www.woodfirelust.com
The School of Art at Montana State University is pleased to present Red Apples: Faculty and Staff 2019, on view Wednesday, January 9th – Friday, February 1st in the Helen E. Copeland Gallery in Haynes Hall on the Bozeman campus. In conjunction with Across the Divide at the Holter Museum of Art in Helena from January – April, Red Apples will display the many techniques and media used by the School of Art faculty and staff.
Every three years, the Helen E. Copeland Gallery hosts an exhibition of work by the School of Art faculty and staff to allow every cohort of students to see the work of their mentors. Such exhibitions illustrate that artists often straddle two careers: one of passion (their practice) and one to economically support their practice. Artists are self-driven members of the community, who attempt to balance their responsibilities and professional obligations with their purpose and passion.
Across the Divide at the Holter Museum of Art will feature the same artists, as well as the faculty and staff in the School of Art at University of Montana in Missoula. Combining forces, the faculty and staff of both universities hope to highlight the importance of Fine Art to the Montana public, as well as legislators and lawmakers. According to Gallery Director, Ella Watson, “There is no competition between Missoula and Bozeman for the Arts. I think that both communities understand the importance of art advocacy and in the end, both schools are quite intertwined. What is good for Missoula is good for MSU, and adversely, both universities are impacted by funding cuts at the other university.”
The list of artists providing work in Red Apples is as follows:
For Red Apples, Professor and Director of the School of Art Vaughan Judge chose a photographic piece entitled “Sisyphus” which sheds light on the irony of toxic masculinity in the 21st century. A Neo-conceptualist photographer, Judge’s work captures tableaus of his design, in which every detail is a conscious decision, ultimately tallying to a larger commentary on the ills of society. Judge is also celebrating his newest publication, Undergraduate Research in Art published by Routledge Press.
Dean Adams, nationally and internationally shown ceramicist provides an eclectic look to his pieces of phallic interpretation in ceramics. Using humor to make his subject matter more approachable, Adams provides a commentary on how unbridled masculinity does not need to be pornographic, abusive, or reactive. With his wide array of ceramic work, along with his many roles in organizations such as the Wild Clay Research Project at MSU and Integrative Teaching International, Dean mentors students on not just artistic practice, but also how to be successful through many varying ventures and ideas.
Drawing and Painting professor Rollin Beamish’s sophisticated use of graphite enmeshes his political and social commentaries, often with ironic qualifications. His pieces are as profoundly skillful and as they are conceptually layered, and often bring attention to the architecture of the gallery space through his use of wall stencils and vinyl applications. Hours can be spent of his work, deciphering the puzzling meanings and relationships between images and texts.
Graphic designer professor, photographer, and author Jeffrey Conger has been providing a first-hand, behind the scenes view of motor sport photography for over the past 20 years. Having written and photographed for more than all the major motor sport publications, Conger produces vibrant depictions of racers, bikers, cars, and cycles. In Red Apples, Conger provided three images from his Salt Flats portfolio.
Ceramic Professor, Josh DeWeese states, “I am inspired and challenged by the art of pottery and strive to make work that is successful on multiple levels. I want my pots to be well designed and comfortable to use; to be rich with ceramic wonder; seductive to behold; and to have reference to history and the field of ceramic art to spark the imagination.” DeWeese’s signature style investigates painting on three-dimensional forms, as can be seen by the five salt-fired jars in the exhibition.
New this academic year, Graphic designer and architecture specialist, Ashley Fuchs engages questions of locality and environment through her work. By creating interactive pieces that facilitate both modern technology and older techniques, Fuchs attempts to acknowledge the locality of the gallery space and the local identity of the community.
Ceramic professor, Jeremy Hatch, who also has an exhibition at Old Main Gallery in Downtown Bozeman, recontextualizes childhood iconography through his impeccable use of slip-casted porcelain.
Like the fluidity of water, Gesine Janzen has a body of work that flows through the soul. A primarily woodblock printmaker, Janzen focuses largely on movement and line work through the bold lines of excavated wood grain. Coming off of her recent sabbatical, in Red Apples, Janzen has chosen a large scale Sumi ink watercolor from her body of work that researched “water” in all its forms in the Northwest.
Though her painting medium of choice is encaustic, Painting professor Sara Mast, facilitates multiple mediums to provide the viewers an opportunity for exploration and discovery. Often collaborating with other artists or scientists, Mast uses animation, film, and sculpture to engage the viewer in interactive installations that are both entertaining and educational. Her CAVE collaboration will be on view in the new Norm Asbjornson Hall this spring.
Through the expression of graphic design, print, and typography, Graphic design professor Meta Newhouse empowers her students to use graphic design to solve relevant problems. In her own work, Newhouse employs sense of nostalgia using letterpress to reference pop cultural such as her pieces Red Apple. In this exhibition, multiple letterpress pieces of movie titles in Italian are hung salon style, providing the viewer with glimpse of Newhouse’s masterful ability to pair type face with cinematic personality.
When looking closely into the issues of popular culture, the plight of native people, and colonialism, one should look at the work of Metals professor, Bryan Peterson. Using sustainable materials such as tin, Petersen considers the cultural associations in his material choices with the over arching conceptual intention of his work. For Red Apples, Petersen is exhibiting jewelry that references the impacts of EPA deregulation though color and material.
Through the innovative use of cold wax and oil paint that is applied and removed with clay tools, Gallery Director Ella Watson is inspired by local nature, though her work is autobiographical. In Red Apples, Watson is exhibiting two works she began during SLAM this past summer. However, her overall practice is becoming more socially and politically centered, as she has been inspired by MSU students in her role as co-advisor for the Black Student Union. Watson also has work on display at the YAM; her first year being included in the museum’s annual auction.
With the works of Jim Zimpel, personal experience is translated from memory to sculpture. A master woodcrafter, Zimpel’s works are also autobiographical, though there is social commentary surrounding masculinity in his work. For Red Apples, Zimpel is presenting his newest creation: an 8’portable basketball hoop rendered in lumber—an exquisitely crafted piece that her created just for this exhibition.
For more information on this exhibition, or on the Helen E. Copeland Gallery, please visit https://hecgallery.com or follow us on Facebook under the Helen E. Copeland Gallery.
The Helen E. Copeland Gallery is located at 213 Haynes Hall on the second floor of Haynes Hall, across from the Aasheim Gate off of 11th, with the Ski Swing out front. Please note that the parking passes are required for parking during the business day (6AM-6PM). Gallery Hours: Monday-Friday, (9:00 AM – 5:00PM/ Closed on weekends. For more information, visit www.hecgallery.com, email the Gallery Director, Ella Watson at email@example.com, or call (406)994-4501 during business hours.
The School of Art at Montana State University is pleased to announce the opening of the 2018 Fall BFA Thesis Exhibition at the Helen E. Copeland located on the second floor of the School of Art in Haynes Hall, Bozeman MT. The show will be on Monday, December 9th – Friday, December 14th, 2018. The public reception is Friday, December 14thfrom 6:00-8:00 p.m. and will be free and open to the public. Hors d’oeuvres will be served, as will a cash bar.
On view will be the thesis works of six emerging artists graduating with their Bachelors Degrees in Fine Art. A number of disciplines will be represented: drawing, painting, printmaking, and ceramics.
For BFA graduates, the thesis exhibition represents an important transition period from student to working artist. It marks an end to academically assigned work, and the beginning of their individual research and artistic maturity. The exhibited works synthesize the growth of each artist over their years spent at MSU.
Showcasing some of the finest that the MSU School of Art has to offer, the exhibition will include Hilary Honadel, Cameron Koch, Hunter Gillingham, Jake Mayo, Robyn Till, and Elise Perpignano.
The Helen E. Copeland Gallery is located on the second floor of Haynes Hall. Please note that the parking passes are required for parking during the business day (6AM – 6PM).
Helen E. Copeland Gallery Hours: Monday – Friday, 9AM – 5PM / Closed on weekends
The Face of the River: Sabbatical Exhibition by Gesine Janzen Exhibition Dates: Tuesday, November 6th – Friday, November 16th Reception: Thursday, November 8th, 6:00 – 8:00 pm
The School of Art at Montana State University is pleased to announce the opening of The Face of the River: Sabbatical Exhibition by Gesine Janzenat the Helen E. Copeland Gallery located on the second floor of the School of Art in Haynes Hall, Bozeman, MT. The show will be on exhibit Tuesday, November 6th – Friday, November 16th. A reception will be held on Thursday, November 8th, 6:00 – 8:00 pm and will be free and open to the public. Hors d’oeuvres will be served.
During her sabbatical between 2017 and 2018, Bozeman artist and MSU School of Art Printmaking professor, Gesine Janzen traveled across Wyoming, Montana, Colorado, Utah, and Arizona to study all forms of natural and man-made water formations: lakes, reservoirs, rivers and streams, dams, levees, and empty creek beds to name a few. Using woodblock prints and ink paintings, Janzen captures the direction, power, speed, and immensity of water in this part of the country.
According Janzen, in the exhibition, “water is represented in its many states: low water and high water, frozen and unfrozen, stagnant, free-flowing, and dried-up. Its power and abundance are presented alongside evidence of manipulation, fragility and scarcity. Water crashes and roars over rocks, it laps at river banks and meanders slowly across the land. I am drawn to it because of its enduring nature, it’s strength and tenacity: it keeps going despite our interventions, eternally finding its way.”
Through her practice, Janzen explores themes of landscape, place, time, and the elusive qualities of memory. She uses multiple printing processes, layering ink, colors, and content to mimic the acts of recollection and remembering. Her work is shown widely in the US and abroad, including the Yellowstone Art Museum, the Missoula Art Museum, Dallas, Boston, and Philadelphia
Born in Kansas in 1967, Janzen received her Bachelor of Arts degree at Bethel College in her home state. She also has B.F.A in Printmaking from the University of Kansas and an M.F.A from the University of Iowa in Printmaking and Drawing. Janzen joined Montana State University in 2002, and has used her time in Montana to further develop her style, teaching the practice of fine art printing to the next generation of artists.
The HECG is located on the second floor of Haynes Hall, across from the Aasheim Gate off of 11th, with the Ski Swing out front. Please note that the parking passes are required for parking during the business day (6AM – 6PM). Gallery Hours: Monday – Friday, 9AM – 5PM/Closed on weekends.
The School of Art at Montana State University is pleased to announce MSU School of Art International Artist-in-Residence: Cheon Pyo Lee atthe Helen E. Copeland located on the second floor of Haynes Hall, Bozeman MT. Lee will lecture on his work in the gallery on Tuesday, October 30th from 4:30 -5:30 with time for questions afterwards. The public reception will follow immediately afterwards from 6:00-8:00 p.m. The reception is free and open to the public. Hors d’oeuvres will be served.
Cheon Pyo Lee is a New York-based artist whose multidisciplinary practice is grounded in notions of absurdity, play, and experimentation. At the heart of Lee’s work is a mischievous but resolute desire to subvert systemic notions of value and authenticity through personal encounters and experiences. Definitely a departure from the normal Bozeman fare, this is not an exhibition to be missed.
There is a lot of pressure to create a full exhibition in the HECG in one month’s time, but the local area always prove to be inspiring– too inspiring if anything. It can be hard to nail down a focus with so many possibilities for subject matter. Every iAiR that comes to MSU takes something different from the Montana experience, placing what is unique about the state in a new, fresh, contemporary light, bringing something to the Bozeman art scene that is unique, with an outsider perspective on what we consider standard Montana ways of life.
Whereas past artists have focused on landscapes and horses, in his time in Montana, Lee has gone tracking and hunting with locals which has been the main focus of his piece in the gallery. He has become enamored with the art of hunting and field dressing, likening it to a dance. Lee’s installation will include video projections and short films made during his time here, ceramic pieces organized like Dutch still-lifes created by Lee and ceramic students, and smaller pieces and installations. There will also be discussions about his latest book, Alibi of Autonomy, two stories that were written by fellow artists, based on photographs and receipts from Lee’s residencies in Wales and Basel. According to Lee, “I work in a variety of mediums depending what impeding project requires, what matters most to me is to understand the different set of value systems that Art is. The desire is to expose myself to new environments where I can be intrigued to subject matters that demand an immediate response. In doing this I feel my works can function as an alibi of my autonomy.”
In Lee’s perspective, the artist who doesn’t produce primarily for the market, the artist who wants to maintain a certain autonomy in his or her artistic production, is dependent on ‘residencies’ in order to produce new work. Residence is also an obligation to move to another place. In this sense, the artist-in-residence is in the first place a migrant in order to be able to become an artist-in-residence. Embracing the fate of a migrant as a new mode of artistic production Lee presents works produced or collaborated during his residencies, and travels. The exhibition in the Helen E. Copeland Gallery is part video screening, part installation through which Lee constructs a fragmented narrative based on samples collected during his temporary residence in Bozeman, MT.
As Lee states, “The formal desire is to acquire a palette of a crisp plasticity, mimicking graphic and industrial prototyping. Presented work samples are results of my investigation on the personal economy to create a narrative atmosphere. Each work espouses a particular approach to fabrication investigating the myriad forms of installation. The aim is to localize the abstract, by creating a context for me to interact with an inquisitive collaborator, in order to deal with ideas in an explicit way.”
Though born in 1980 in Korea, Cheon Pyo Lee spent his formative years in Paraguay. Lee lives and works in Brooklyn, NY with his wife who is also an artist, and has an MFA from the Yale University School of Art, and a BFA from the Art institute of Chicago. As world travelers, Lee and his companion have traveled far and wide, creating art that is site-specific and locally inspired. Originally trained as a painter, Lee has expanded into installation art. Lee has exhibited internationally including in Texas, San Jose, Cincinnati, Brazil; and throughout New York City and Seoul, Korea.
The Helen E. Copeland Gallery is located on the second floor of Haynes Hall. Please note that the parking passes are required for parking during the business day (6AM-6PM).For more information on this exhibition, or on the Helen E. Copeland Gallery in general, please visit https://hecgallery.com or follow us on Facebook (http://facebook.com/msuhecg.) For more information, please email the Gallery Director, Ella Watson at firstname.lastname@example.org or call the School of Arts at (406) 994-4501.
Upstream of the Confluence: a Woodfire Celebration Monday, October 1st – Thursday, October 25th
East Fork at the Helen E. Copeland Gallery in Haynes Hall 213 Haynes Hall, Bozeman, MT 59717 Exhibition: Monday, October 1st – Thursday, October 25th Reception: Tuesday, October 16th, 6:00 – 8:00 pm
West Fork at the Waller-Yoblonsky Gallery at the Melvin Graduate Studios 2998 West Lincoln Street, Bozeman, MT 59718 Exhibition: Monday, October 14th – Friday, October 19th Reception: Tuesday, October 16th, 4:00 – 6:00 pm
Middle Fork in the Beyond Gallery at the Melvin Graduate Studio Exhibition and Reception: Tuesday, October 16th, 4:00 – 6:00 pm Helena dates: TBD
Downstream Downfire in the Exit Gallery in the SUB Located in the Strand Union Building Strand Union Building Room 212 Exhibition: Monday, October 15th – Friday, October 26th Reception: Wednesday, October 17th, 5:00 – 6:30 pm
The School of Art at Montana State University is pleased to announce the opening of a multi-part woodfire ceramics celebration, Upstream of the Confluence, occurring Monday, October 1st – Thursday, October 25th. In conjunction with the “Cultural Confluence,” an international woodfire symposium in Helena on October 18th – 20th, the event at Montana State University will extend the celebration of woodfire traditions to Bozeman, highlighting the evolution and convergence of woodfire practices in creation of the contemporary.
The celebration will take place across campus including the Helen E. Copeland Gallery, the Waller-Yoblonsky Gallery, the Exit Gallery, and the Beyond Gallery (a new pop-up space that will be on display outside of the Waller-Yoblonsky the evening of Tuesday, October 16th).
Each gallery will be showcasing unique collections of woodfired ceramics created by Montana State students, alumni or staff, ranging in date from 1945 to present. The Helen E. Copeland Gallery exhibition, East Fork, curated by Ella Watson, Josh DeWeese, and Dean Adams, will display alumni and faculty work including include Rudy Autio, Peter Voulkos, professor emeritus Frances Senska, professors Dean Adams and Josh DeWeese, as well as former students Rachael Marne Jones, Kelsie Rudolph, Danielle O’Malley, Mark Kronfuss, Boomer Moore, Mat Rude and many more fromMonday, October 1st – Thursday, October 25th.
The Waller-Yoblonsky Gallery will be hosting West Fork, showcasing art by current MFA students from Monday, October 14th – Friday, October 19th.
Attendees at West Fork on October 16th will also have a chance to view student woodfire pieces in Middle Fork in the Beyond Gallery, the brainchild of MFA candidate and ceramicist, Jon Bashioum. The Beyond Gallery is a mobile gallery intended to promote arts in Montana. Installed in a 1987 MCI Motor Coach, the gallery is currently a work in progress and this show will be the first exhibition in this space after Phase I of renovations. Middle Fork will feature student work based around the theme of wood firing, portraying a respect for tradition and an enthusiasm for innovation.
On October 16th, reception for Middle Fork and West Forkwill take place from 4:00 – 6:00 pm at the Melvin Graduate Studios, followed by a reception for West Fork from 6:00 – 8:00 pm at the Helen E. Copeland Gallery. Both receptions are free and open to the public.
The Exit Gallery in the SUB will be hosting Downstream Downfire, showcasing undergraduate woodfire ceramics from Monday, October 15th – Friday, October 26th . the MSU Ceramic Guild will be showing their collected woodfired work, exhibiting different techniques of firing and use of clay. According to co-organizer, BFA student Matt Biasotti, “This work represents our struggle, love and addiction for wood fire ceramics.”
There will also be a variety of woodfire burnings, as well as visiting artists throughout the month. Dan Murphy, Associate Professor from Utah State University, and Julia Isidrez, Studio Artist from Paraguay will be giving ceramic demonstrations in the Ceramics Studio in Haynes Hall on MSU Campus on Thursday, October 11th, 9:00 am – 12:00 pm. Both will be lecturing later that afternoon, at 4:00 pm in Cheever 214. Please visit http://www.hecgallery.com for more details on these events, including artist bios, directions, schedules, and kiln histories.
In 1889, Montana became a state. Fifty-six years later, Frances Senska moved the Ceramics program out of Home Economics and under the umbrella of the School of Arts with the assistance of Olga Ross Hannon, from whom Hannon Hall receives its namesake. Seventy-three years later, the School of Arts is proud to host this series of events, celebrating the ceramics program which has been around for more than half of Montana’s history. Many alumni from MSU ceramics have thriving careers, creating everything from functional pottery to contemporary, conceptual works. However, what makes woodfire special is not just the works created, or the history of the department, but the community it inspires.
As alum Mark Kronfuss, whose work will be in East Fork, states, “Living in a smaller community really lends itself in finding like minded folks. Ceramic artists seems to always find each other. No other medium in art brings a group of dedicated artists together to work collaboratively and share knowledge like ceramics does.”
Wood firings take anywhere from one to four days, during which the fire is continually stoked and kept alive by loyal, anticipating craftsman. “Some of my closest friends and fondest college memories come from long days and hours spent prepping for and tending to a wood kiln,” Kronfuss recalls.
Woodfiring unto itself is a dance with the heat, a slow burn that brings out the natural tones in the clay, whilst flames lick the muddy surface. There is a stronger element of chance with wood firing as compared with electric or gas kiln firings. One cannot be sure where the work will be singed by the flames, and can only speculate how location in the kiln will impact how the incandescence will incinerate the material. The surface is often rough, but ripe with texture and nuances only available to the keen viewer that takes time investigating the work in the proper light. Woodfiring is a process in which the artists surrenders much of their control to the blaze that they in turn feed and stoke, sometimes heartbroken, sometimes elated by the results.
While stoking, sealing and feeding these kilns over 72 hours, bonds and community are built amongst ceramicists as they pass sunrise, afternoon, sunset, and moonrise in shifts, alternating company as the hours pass. Bystanders in the ceramics department can always see when a woodfire is underway: the counters are littered with pizza boxes and empty drinks, and the detritus of small potluck meals. Students are smeared with ash, yet enlivened. MSU can speak greatly to this celebration. According to alumni, Christine Gronneberg, whose work will be in East Fork, “The ceramics department at MSU offers its students a lot special experiences. I fondly remember digging for wild clay, visiting the Archie Bray, firing atmospheric kilns, and having exceptional visiting artists at the studio.”
According to alumni Mark Croghan, also in East Fork, highlights the importance of the exhibition: “Anyone who fires with wood knows how hard it is. I’m just glad to share this with others whom know what it really takes. the wood process is just that: process. It reeks of process and that’s what I’ve done my whole life. I love making pots but wood touches pots in ways that makes it a collaboration.”
The Helen E. Copeland Gallery is located at 213 Haynes Hall on the second floor of Haynes Hall, across from the Aasheim Gate off of 11th, with the Ski Swing out front. Please note that the parking passes are required for parking during the business day (6AM – 6PM). Gallery Hours: Monday – Friday, 9AM – 5PM/Closed on weekends.
The Waller-Yoblonsky Gallery at the Melvin Graduate Studios is located at 2998 W Lincoln Street off Garfield Street, east of 19th Street. If coming from 19th, take a right onto Garfield, go ½ mile, and take a left into the Agricultural Experimentation Station. there will be a sign for the Melvin Graduate Studios. Take a right and drive to the last building. Please mind the speed limit and stay beneath 15 MPH once you turn off of Garfield Street.
The School of Art at Montana State University is pleased to announce the opening of Giebink’s Cirque d’ Fantastical at the Helen E. Copeland located on the second floor of the School of Art in Haynes Hall, Bozeman, MT. The show will be on exhibit Monday, August 6th– Wednesday, September 25th. A reception will be held on Thursday, September 13th, 6:00 – 8:00 pm and will be free and open to the public. Hors d’oeuvres will be available, as will a cash bar.
On view will large-scale wooden sculptures, performances, and video installations by local artist Tom Giebink. Having recently returned to Bozeman, Giebink brings with him a history in film, sculpture, and painting. Beginning on a crew for community television in Austin, Texas in 1976, Giebink has followed the technical advancement of film production and editing. Giebink’s unique approach to the medium, spanning the decades, has pushed film and film editing to its limits.
According to Giebink, “Underlying virtually all my work over the last 50 years is the sense that I’m making visible & tangible what exists parallel to the world we walk around in. Regardless of media used. Regardless of what it looks like. Regardless of how that might be performed.”
Creating video installations and performances, as in “All Pro Video Rasslin,” Giebink has entertained audiences by manipulating spatial relationships within the camera frame. For example, before CGI made such an endeavor simple, Giebink created anti-gravity rooms, which allowed him to casually walk up walls, and pour water at an impossible angle when viewed through the video frame. Examples of this work will be on view in the gallery.
Simultaneously, Giebink has been creating stretched and skewed furniture that refers to the two-dimensional picture plane. Resulting in a strange, yet still functional piece of furniture that is both playful and well crafted, Giebnick reproduces furniture to the exact proportions in a painting: if the legs of a bed are foreshortened in an image, then they are foreshortened in the sculpture. Giebink echoes the aesthetics of Robert Lazzarini, resulting in structures are mystifying.
Finally, throughout the exhibition, Giebink will be installing a set in the gallery that incorporates the skewed furniture. Using live feeds and masterful computer knowledge with micro cameras, Giebink will create the set through August and September. This will allow viewers to understand how he manipulates the proportions of a film set to create an overall “anti-gravity” performance space in the gallery. The creation of this set will culminate in live performances in September with collaborator Norah Hajos. We welcome audiences to make frequent trips to the gallery to see how the installation unfolds over two months.
The HECG is located on the second floor of Haynes Hall, across from the Aasheim Gate off of 11th, with the Ski Swing out front. Please note that the parking passes are required for parking during the business day (6AM – 6PM). Gallery Hours: Monday – Friday, 9AM – 5PM/Closed on weekends.