2019 SEASON
Elemental
On View
May 10 - June 16, 2019
ELEMENTAL
An immersive installation by Katya Popova and Katarina Miljkovic
On view May 10 - June 16, 2019
In memory of Eva Hesse
”ELEMENTAL” is an immersive installation inspired by the basic structure of things. Its visual form explores the inner world of painting and cardboard, their visceral and abstract qualities—intersection, edge, line, negative space, texture, color and movement. In the process, a series of juxtapositions-dichotomies emerge—archaic versus modern, organic versus man made, heavy versus light, durable versus ephemeral, vertical versus diagonal.
The installation is composed of sculptural visual elements, real time video re-projection, and sound. The sound mirrors the visual net of “the structures” by utilizing an algorithmic process of evolution of a complex modular texture based on simple rules. Intersection with the visual is established through sonic material, entirely derived from the sound samples of objects used for the installation and their interaction. The resulting sonification of the visual separates sounds from their objects and projects them into the space creating a living acoustic environment of shadows and echoes.
Composer Katarina Miljkovic investigates interaction between science, music and nature through collaborative musical performance. Miljkovic has been working on sound mapping of the elementary rules from Stephen Wolfram’s New Kind of Science. Her work in this field has been presented at conferences and festivals in the US and Europe.
Katya Popova is multidisciplinary artist, working at the intersection of physical texture, shadow, and sound. Her works explore what could have been by tracing the physical gestures and material qualities of everyday things. She often works in collaboration with sound artists. Her installations have been exhibited locally and internationally.
Katarina Miljkovic and Katya Popova both teach at the New England Conservatory. Miljkovic is a Chair of the Music Theory Department. Popova teaches courses on Visual Art.
TIME-LINK PRESENT
An immersive installation by Studio HHH, featuring projection mapping on crystals activated by breath.
ON VIEW
JUNE 27 - AUGUST 18, 2019
Crystals spontaneously grow in a variety of shapes, those with distinct facets slanting in a forward direction are referred to as “Time-Link Future” crystals, those with distinct facets slanting toward the back are referred to as “Time-Link Past” crystals. This installation is titled TIME-LINK PRESENT, asking visitors to take a moment to be dramatically in the present.
Upon entering INSTALLATION SPACE visitors will see a crescent landscape made from crystalline formations, with a clearing at the center. The landscape of shapes will be illuminated by dancing light created through projection mapping, bringing the faceted surfaces to life with refracted dancing light.
Low cushions placed in the middle of the clearing invite visitors to enter the installation, and to take a seat. Once seated, they may read the simple instructions and put on the velcro belt that they find resting on the cushion. Once a participant places the belt around their waist, the visual and auditory experience subtly changes, and a visual representation of their breath becomes clearly visible through projection. The rhythm of each visitors breath becomes clearly visualized within the installation. If participants adjust their breathing, and synchronize their breath together, they will “unlock” a visual crescendo of light and color across the crystal forms and also throughout the space.
This project is a chance for the community to use the space for a meditative personal experience, but it is also an experiential metaphor for the process of achieving a common goal through the conscious practice of generating a shared experience. Visitors can choose to put on the belt or not, and they can have a rich and engaging personal experience either way.
BUILDING MEMORY
An installation by Robert Maloney
ON VIEW
AUGUST 29 - OCTOBER 27, 2019
BUILDING MEMORY is an installation that is influenced by the fluid and flawed process of our deteriorating memories. The installation utilizes architecturally inspired structures and multiple projections of animated textures and portraits. As the imagery is superimposed onto the structures they deteriorate and ameliorate at different stages of recognition. The projected imagery is a combination of animated hand drawn portraits that are layered together with a series of digital and analog textures. A soundtrack of ambient and rhythmic sounds accompany the video footage to create a fully immersive experience for the viewer.
"When I see layers of scaffolding in the landscape, it becomes a visual filter that symbolizes something that is in the process of a transition. They could be a signifier of a structure that is being built or one that is being dismantled. In my multilayered constructions I utilize this vocabulary of the urban landscape as a framework for fragmented thoughts and ideas to be suspended onto.
Through my research on the subject of memory I have learned that some people who struggle with memory input have a deficiency in the blood flow to the receptors in their brains, resulting in an inability to have control of their “working memory”. This domino effect of deterioration is at the heart of my artistic practice.
I am not interested in trying to recreate my own memories for the viewer, but to create a fragmented, sensory experience so that the viewer can observe the dichotomy of presence and absence, and the various spaces in-between."
Robert Maloney, a Massachusetts native, completed his Masters of Fine Arts in August of 2014 from Massachusetts College of Art and Design through their interdisciplinary MFA program. He also earned a BFA from MassArt in 1996 through the Illustration department. Robert has shown at numerous galleries throughout the Boston area including the Mercury Gallery, C Duell Arts, Copley Society of Art (CoSo), Kingston Gallery, Lincoln Arts Project, Fourth Wall Project, 13 Forest, and McGladrey Gallery.
Read about BUILDING MEMORY here, courtesy John Seven at the Berkshire Eagle.
ROUTINE MACHINE
An installation by George Simonds
ON VIEW
NOVEMBER 8 -
JANUARY 5, 2019
The goal of this exhibition is to create a space that feels active, alive, and engages the viewer with its movement and sound.
George Simonds started using found and recycled farm and factory materials while in college at SUNY Purchase. Using these materials allows him to be inspired by objects, and discover interesting ways to put them together. Thinking about art as problem solving led him to make kinetic sculptures that preform repetitive motions. The sounds of these sculptures are also important, and are enhanced with running water, bells, and musical instruments.
"In many ways, our lives and our bodies are a collection of cycles and routines and I think that helps people sympathize with the work. My sculptures make me think about the “function” of art which is a kind of paradox in my opinion. Fine art doesn’t really have any concrete purpose. It isn’t a vital part of life, and yet we find it so important and meaningful. I like to think about my sculptures in the same way. They are doing a job, but the job they are doing serves no purpose."
George Simonds has recently shown at MagPie (Solo Show at SUNY Purchase College, 2018) and Work Machines (Brooklyn, NY, May 2019).
