Stratocumulus Cloud Room 5
Stratocumulus: no precipitation, or perhaps light rain, seen at the front or tail end of stormy weather.
Chaco Kato
Jatun Risba
Rebecca Siemering
Seren Morey
Jatun Risba
Rebecca Siemering
Seren Morey
These works flow together in connected lines and textures. They emphasize repetition, delineation of spaces, and conceptual elements of chance. I had the unique experience of being at the site where Chaco Kato produced Himo Theory, and was able to walk around and through it. The lightness of the sculpture and simple construction amplifies the magic of the diligence it takes to create a work of this scale using knots and tent stakes. The tower-like centers have macrame knots familiar to me from my childhood days at home spending time with crafts. Kato overcomes any sense of the ordinary, with the massive scale of the work as it becomes an ethereal architecture reaching towards the the sky, perhaps towards the clouds. Its title Himo Theory leads us to conclude connections to quantum chemistry and to conduct further investigation into these structures. Jatun Risba is also delineating space in her works Mother and Seeing Blue. Mother triangulates the space around a lawn chair where one can enjoy and take in meditation, her film about the installation includes music that varies in intensity, adding to the imagined experience from our own distant lawn chairs. Seeing blue is a visual poetry, string and metal combine, illustrate, reflect, tell us a story we interpret on our own, while intuitively discovering the sense of sky within it. Rebecca Siemering's sculptures combine found lottery tickets and such elements as dental floss, parts of our everyday existence that become the detritus we see scattered on city streets on windy days in autumn. Together these items pull together and form hopeful metaphors, the fancy boots in Super 7 Hot might make one more attractive, and the child sized Tuft Enough make one imagine the gamble we put on the future of our children, investing like the betting slips it is made of, in the chances they might have, the goals possibly attained. Seren Morey's works seem to grow and move, they combine elements of the spider-like web of Kato's work, and the repeated structures of Siemering's works. Morey's work has its own style, but connects with these ideas of hope, growth, life evolving, and transforming, coral reefs, mushrooms, algae, might live here, too, alongside the animal claws, arms, and ossified remains. Her colors create mini worlds within a form, as if an entire world is being contained and restrained, pushing and moving to spread a little further across limited spaces, much like the growth in our world cities, things grow on top of other things, creature upon creature.
Chaco Kato, Himo Theory, fabric yarn, dimensions variable, 2012.
Chaco Kato, Himo Theory, fabric yarn, dimensions variable, 2012.
Chaco Kato, Himo Theory, fabric yarn, dimensions variable, 2012.
Jatun Risba, Mother, triangular spatial intervention with 200m long biodegradable tape, variable size, 2019.
Jatun Risba, Mother, triangular spatial intervention with 200m long biodegradable tape, variable size, 2019.
Jatun Risba, Mother, triangular spatial intervention with 200m long biodegradable tape, variable size, 2019.
Jatun Risba: Seeing Blue (2020)
Rebecca Siemering, Super 7 Hot, found lottery tickets, cardboard, cotton, dental floss
Rebecca Siemering, Ready for the Show, found scratch tickets, dental floss, sequins, canvas, beads, hand-sewn, 45" x 17" x 7", 2008 (in the collection of Fidelity Investments).
Rebecca Siemering, Tuft Enough, hand-tufted found betting slips, dental floss, cotton, 23" x 14" x 8"
Seren Morey, Ransack,2020,9x7x5in.
Seren Morey, Seraph, 2020, 12x9x4in.
Seren Morey, Klaw, 2020, 7x7x5in.Ultralight acrylic and pigment dispersions on panel
