Spotlight on Intersections@5: Jae Ko

The Phillips celebrates the fifth anniversary of its Intersections contemporary art series with Intersections@5, an exhibition comprising work by 20 of the participating artists. In this blog series, each artist writes about his or her work on view.

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Installation view of the Intersections@5 exhibition, with Jae Ko’s Black #22, 2014; Black #23, 2014; Black #24, 2014 at right. Photo: Lee Stalsworth

I wanted to make a reduction in scale from my large paperwork, and as we all know when we reduce the scale of large objects, detail is increased. What I’ve done here is a very large reduction resulting in a very large introduction of hyper detail. The vinyl has allowed me to introduce this hyper detail by its flexibility; I am able to form, bend, and cut it to achieve a state of detail that is unattainable at a large scale. In addition to the change in detail there is an obvious change in form, from biomorphic to rigidly geometric…I enjoy playing with these disparities.

Jae Ko

Spotlight on Intersections@5: Linn Meyers

The Phillips celebrates the fifth anniversary of its Intersections contemporary art series with Intersections@5, an exhibition comprising work by 20 of the participating artists. In this blog series, each artist writes about his or her work on view.

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Linn Meyers, Untitled, 2014. Gift of Lucinda and Carlos Garcia

The unmediated directness of making a drawing is the result of a line being an extension of the hand and the body. The line is universal.

At the Time Being was a site-specific wall drawing made in response to Van Gogh’s The Road Menders. I chose Van Gogh’s work as a starting point because the method that the artist used to apply paint to his canvases shares some of the same qualities of a drawing.

Twenty-five years ago, I began my career as a painter. Over time I became enamored with the distilled qualities of drawing, and eventually drawing became my primary focus.

While working on the Intersections project in 2010, however, I found that I was not only drawing on the wall, but also using a paintbrush to enhance the image. That return to painting as a mode of expression during the project at the Phillips has stuck with me, and Untitled, 2014 is evidence of that. The piece blends drawing and painting; it puts the two modes of expression on equal footing. The lines in Untitled, 2014 have a calligraphic quality that was achieved with a paintbrush; however, the act of making a line is, in and of itself, an act of drawing.

Linn Meyers

Spotlight on Intersections@5: Nicholas and Sheila Pye

The Phillips celebrates the fifth anniversary of its Intersections contemporary art series with Intersections@5, an exhibition comprising work by 20 of the participating artists. In this blog series, each artist writes about his or her work on view.

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Nicholas Pye and Sheila Pye, The Coronation, 2008. Single channel video with sound. Gift of the artists and Andrea Pollan

The Coronation is an installation project incorporating a blend of experimental and narrative techniques to shape a cinematic perspective that employs visual language commonly used in painting. The installation is composed of three parts, with all three cinematic ‘panels’ playing simultaneously. The concept for the installation was inspired by altarpiece triptychs from the Renaissance and Medieval periods in art history. Our aim was to create a modern allegorical interpretation of the triptych using video and sound. The center component became a conceptual performance based work on a loop, and projected in the portrait format.  The centerpiece is flanked on either side by two life sized figures of a man and a woman also projected in portrait format.  This work is not a narrative in the typical sense, but rather a series of constructed tableaus existing in a theatrical world.

Nicholas and Sheila Pye