Janna Longacre
国籍：美国 · 驻场时间：2019年
设置
暗 模式
Janna Longacre
Artist Statement / 2019
Whose reality is it anyway? How and why do we choose to value what we do? Consumer culture uses and abuses. Valueless things are valued. Valued things are taken for grant, overlooked or ignored. I don’t see art as a commodity. It’s political. And the politics of materials today is at a crisis level.
I construct temporary installations using a variety of materials from many sources. The pieces often incorporate reflection and shadow as materials. Clay can be present in a variety of forms. I construct with a vocabulary of opposites. Careful selection of location and installation are essential in the framing of each piece. Every work has multiple implications. Carefully constructed objects mix with random chance expressions. But nothing is an accident, though it may appear to be. Fragments of objects / materials are engaged to play off of objects which are refined and complete. Each piece is an abstract narrative which the audience interprets from their own perspective.
I consider each piece to be a visual poem. I begin by considering the site/location. I write, draw, photograph from what I see but also what I don’t see. I compose with materials; engaging the audience to investigate and reconsider what they are looking at. The work may be beautiful to look at and yet have a dark issue as its foundation. I like to create work that is anchored yet floating; fixed yet floating. I work with ideas that are fluid and interested in work that appears and disappears, leaving no footprint, only memory.
Bio / 2019
Being raised on a farm in rural Pennsylvania, USA with a Mennonite father and Catholic mother has been a strong influence for everything I do. My life remains based in two difference realities, two different cultures. I’m grounded in tradition and skilled making, along with a width breathe of conceptual, philosophical and cultural thinking. Extensive world travel, including driving the length of Africa when I was 21 years old in 1973-74, has also been a profound influence on my ideas and work. In total, I has travelled and worked in 43 countries throughout the whole. Along with being a teacher, community activist and working artist, I am also an author, curator and speaker.
Description of Work
I see art and artmaking as a way to see anything differently.
Many of my pieces are site specific with the intention of enhancing or shifting the viewer’s perception, to offer another way of thinking about any given situation, condition, material or space. In each installation, I choose the location site, usually focusing on a characteristic I want to bring more attention to. I photograph the space, I write about and draw what which I feel will transform the space. Titles are important for me.
As part of the process, I collect and make objects which I want to incorporate into the piece. Some of the materials made be highly refined or have a previous existence / history…. Other materials are suggestive of the potential of being. I see the making process as drawing. I take risks and experiment, trying to find discover something unpredictable. I use light and shadow as one of the materials in my work.
After the exhibition ends, nothing remains. The work is only a memory; the only thing that exists of the work is the documentation… the photograph records of its existence.
Title of Lecture
Seeing / Thinking / Reframing
Artist Statement / 2019
Whose reality is it anyway? How and why do we choose to value what we do? Consumer culture uses and abuses. Valueless things are valued. Valued things are taken for grant, overlooked or ignored. I don’t see art as a commodity. It’s political. And the politics of materials today is at a crisis level.
I construct temporary installations using a variety of materials from many sources. The pieces often incorporate reflection and shadow as materials. Clay can be present in a variety of forms. I construct with a vocabulary of opposites. Careful selection of location and installation are essential in the framing of each piece. Every work has multiple implications. Carefully constructed objects mix with random chance expressions. But nothing is an accident, though it may appear to be. Fragments of objects / materials are engaged to play off of objects which are refined and complete. Each piece is an abstract narrative which the audience interprets from their own perspective.
I consider each piece to be a visual poem. I begin by considering the site/location. I write, draw, photograph from what I see but also what I don’t see. I compose with materials; engaging the audience to investigate and reconsider what they are looking at. The work may be beautiful to look at and yet have a dark issue as its foundation. I like to create work that is anchored yet floating; fixed yet floating. I work with ideas that are fluid and interested in work that appears and disappears, leaving no footprint, only memory.
Bio / 2019
Being raised on a farm in rural Pennsylvania, USA with a Mennonite father and Catholic mother has been a strong influence for everything I do. My life remains based in two difference realities, two different cultures. I’m grounded in tradition and skilled making, along with a width breathe of conceptual, philosophical and cultural thinking. Extensive world travel, including driving the length of Africa when I was 21 years old in 1973-74, has also been a profound influence on my ideas and work. In total, I has travelled and worked in 43 countries throughout the whole. Along with being a teacher, community activist and working artist, I am also an author, curator and speaker.
Description of Work
I see art and artmaking as a way to see anything differently.
Many of my pieces are site specific with the intention of enhancing or shifting the viewer’s perception, to offer another way of thinking about any given situation, condition, material or space. In each installation, I choose the location site, usually focusing on a characteristic I want to bring more attention to. I photograph the space, I write about and draw what which I feel will transform the space. Titles are important for me.
As part of the process, I collect and make objects which I want to incorporate into the piece. Some of the materials made be highly refined or have a previous existence / history…. Other materials are suggestive of the potential of being. I see the making process as drawing. I take risks and experiment, trying to find discover something unpredictable. I use light and shadow as one of the materials in my work.
After the exhibition ends, nothing remains. The work is only a memory; the only thing that exists of the work is the documentation… the photograph records of its existence.
Title of Lecture
Seeing / Thinking / Reframing