I am creating an installation of satin Ribbons for the artspace Gallery. I will also be exhibiting graphite drawings that are made from rubbings of the same ribbon used in the installation. Beellow images of the installation partially constructed in my studio and a few of the drawings. The exhibit remains up through January 25th.

 

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Here’s  what my friend, poet Peter Money wrote in respnse to these works. I am grateful for his insights and his enthusiasm!

“Wow, the graphite “ribbon” drawings are incredible.  Lots of movement and metaphor here (don’t get me started—–); I love, particularly, the “underside” of the line. . . the layer “still there,” not “absent.”  It is graceful, somber, sexy, figural, ghostly, violent (S/M), film-ic, xray-ish, undersea-ish, alive, flotsam, essential, spring, container, outlet, in motion. “Flat” sculpture made springing, en medias.

 And the installation:  the pretty white cage, dressed and revealed, prone/bridal, in its gyre like a valve letting loose but fixed. . . stationed down but charged with internal vortex.  Wisdom coming, like the stained glass to the light:  “just hold there, it’s coming” (“but here’s the downer:  it’s only fleeting”).  “Portrait” in thatched line, a trail for the face from window’s wink; the “face” a voice also, a megaphone tornadoing, the un-spun spinning. . . kept desire amounting, finally starting to articulate, bound and constrained, an energy revving in place.
Lovely, and moving.  Thanks, Alisa.
 Peter”

I have been making full scale studies for an upcoming performance and exhibit at the Brattleboro Museum scheduled for  May 31st, 2014- on view through the summer. (note : the project has been rescheduled for May 2015)

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I am experimenting with how dancers can participate in the construction of one of my woven ribbon installations by helping to build a work as part of a performance. I am inspired in part by the tradition of the maypole dance in which textiles are woven around a pole as the risidual creation of a movement performance. Due to limitations in time and budget for this round I have been working on developing structures that two dancers can create. The vertical “struts” are fixed prior to the performance and facilitate this strategy.

In the early fall, while the weather was warm, I worked for a few sessions with choreographers and dancers Polly Motley and Hanna Satterlee  at a proxy site in East Montpelier to see how we could integrate dance into the construction of the work. I had developed woven structures for this piece through models and full scale studies. Taking into account the needs and input from the dancers, we changed the woven form they build  so as to allow for a broader scope of movement and movement that the dancers enjoy.

Originally I entended dancers to also construct this form around a tree.  However, I discovered that I could build the work as one person working on my own. Perhaps in the future I will have the chance to explore with dancers how to collaborate in creating this work or one based on it.

The research and early development of  this new body of work has been supported by grants from the Vermont Arts Council and the Vermont Community Foundation. My heartfelt appreciation!

Soumak 1 web

Dworsky Flat not flat study 3 Dworsky, Flat Not flat study 4 Dworsky, Flat not flat study 2

These are some early models and full scale studies for a piece I am developing for the brattleboro Museum. Dancers will perform parts of the installation. weaving, dance , installationt study 3 Basic CMYK

This installation was created for the lexington Art league, a contemporary art space in Lexington Kentucky.

The work is made of rip stop nylon, dowles and custom connectors and is sited in a 20′ X 30′ X 15′ room.

"Inside Out", a site specific installation.

“Inside Out”, a site specific installation.

Many thanks to the staff and volunteers at LAL for their support of this project.

Some images of the finished piece

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Some images below of the construction process

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This installation is made from a series of tetrahedrons, ideal solids made of 4 connected triangular planes. Inspired by tent and kite construction, the tetrahedrons are made of dowels and tensile fabric panels assembled with light weight connectors. I am interested in how the repetition of a single shape, varied in its enclosure and orientation, assembled creates a crystalline landscape. The experience of this landscape changes as one moves around the piece.

I selected white fabric for the installation because I want to emphasize the shade and projected shadows in the work. The white panels also reflect the subtle color shifts that take place as the light changes over a day. The triangle and the tetrahedron are remarkably efficient and strong forms…. forms that are the basis of the visionary work of the engineer and designer Buckminster Fuller whose work influences this piece. I am interested in how one can build light forms that compact and ship efficiently and yet deploy to activate and define a space by expanding when assembled.

These  are process images of the installation- full size material studies and models.

Terahedron study 2

final Materials for the project are  5′ long 1/2″ diameter dowels, rip stop nylon, tubing, hardware.The final installation will be in a 20′ X 30′ room with 14′ high cielings.

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Schematic Studies

Schematic Studies

This work  engages a community of people to weave strands of ribbon around trees or poles to make a series of large-scale textile installations. Expanding and radically transforming  the concept of the maypole dance, this work builds on my installations made of hand- crocheted rope and adds the potential for choreographed movement. This piece is both a performance and a work of visual art.

My goal is to create striking tapered forms with varying graphic patterns. I want to make these works in series so it is important that I can vary the weaving technique to create a range of formal qualities. I intend to create a number of works for different venues.