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2019
Materials: Textile, plexiglas
Size: w/o
The site-specific installation is an exercise in the strength and collaboration across generations that is at the core of FRIEDA’s mission. Each piece of cloth and paper was cut by hand. The 1000 blossoms were sewn individually by my mother, who, as she scaled back hours at work, indicated her desire to collaborate on a project. My father and I have a history of creative projects and solving problems along the way: Advent calendars, painting substrates, models, and dioramas. The engineering of this installation is no different, though on a considerably larger scale. Historically I work alone, but this project would not have been realized without assistance, for which, I am so very grateful. Nora.
Nora was the featured artist for A closer look at FRIEDA (November 2019 - January 2020). She also shared her skills with the community during the workshop on December 10, 2019.
I keep revisiting Charles and Ray Eames’ The Powers of Ten, a film I first saw in elementary school. The farther things move apart, the more they become the same. Years ago, I sat in a garden beneath a Japanese Snowbell tree – its horizontal branches dripping in tiny white bell-shaped flowers and felt like I was surrounded by the Milky Way. We build maps according to the grid; a system that is uncompromised in integrity, until it is broken. When you magnify a piece of tarlatan, you see its imperfections. The warp and weft stretched to form an undulating network of misshapen boxes. There is comfort and familiarity in repetition, progress in building something from the same module. History revealed as layers are eroded away. A single square of cut paper or a bell-shaped blossom are insignificant in isolation, but achieve meaning in their recurrence.
You can find more of Nora's work at her website.
Nora was the featured artist for A closer look at FRIEDA (November 2019 - January 2020).
She also shared her skills with the community during the workshop on December 10, 2019.
I keep revisiting Charles and Ray Eames’ The Powers of Ten, a film I first saw in elementary school. The farther things move apart, the more they become the same. Years ago, I sat in a garden beneath a Japanese Snowbell tree – its horizontal branches dripping in tiny white bell-shaped flowers and felt like I was surrounded by the Milky Way. We build maps according to the grid; a system that is uncompromised in integrity, until it is broken. When you magnify a piece of tarlatan, you see its imperfections. The warp and weft stretched to form an undulating network of misshapen boxes. There is comfort and familiarity in repetition, progress in building something from the same module. History revealed as layers are eroded away. A single square of cut paper or a bell-shaped blossom are insignificant in isolation, but achieve meaning in their recurrence.
You can find more of Nora's work at her website.
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