Sunday, March 26, 2017

L O R R A I N E    T A D Y

Representation: Barry Whistler Gallery, Dallas, TX, since 1994.


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EXHIBITION INSTALLATION: 
"SPARKLINES" Oct 21 - Nov 25, 2017

http://barrywhistlergallery.com/exhibitions/lorraine-tady-sparklines/slideshow#id=album-202&num=content-1583


REVIEW:
"SPARKLINES"   http://glasstire.com/2017/11/20/leslie-wilkes-and-lorraine-tady-at-barry-whistler-gallery/


INTERVIEW:
RECENT "SPARKLINES" EXHIBITION The interview website is temporarily down but will be available Sept 2018:
http://www.formworkreview.org/2017/12/13/lorraine-tady-sparklines/



Awards: 1993 Dallas Museum of Art Kimbrough Award, 2010 New York Ruth and Harold Chenven Foundation Award, 2015 Otis and Velma Dozier Travel Grant (to Iceland) Dallas Museum of Art.1993 Kimbrough Award, Dallas Museum of Art

Nominations: Joan Mitchell Foundation 2006 Painters and Sculptors Grant (NYC), the 2007 Arthouse Texas Prize (Jones Center, Contemporary Art for Texas), and the Louis Comfort Tiffany Foundation Grant (2010).

Publications: Texas Abstract: Modern + Contemporary, by Michael Paglia and Jim Edwards, 2015 Fresco Books ISBN 978-1-934491-46-1

Collections: American Airlines; Saks Fifth Avenue; JPMorgan Chase; Neiman Marcus NYC; Toyota North America; Strake Jesuit Art Museum/Houston;Yale; Southern Methodist University; The Family Place, Dallas; and Private Collections


New American Paintings Juried-Exhibition-in-Print, Number 48 (2003); and Number 132 (2017), The Open Studios Press. Valerie Cassel Oliver (former) Senior Curator at the Contemporary Arts Museum Houston selected me for the New American Paintings Issue 132   https://newamericanpaintings.com/issues/132

CV/Full Resume: under faculty profile at:  UT Dallas Faculty, Visual Art



ARTIST STATEMENT:

2017 for Sparklines

My seventh solo show at Barry Whistler Gallery Sparklines: Paintings, Drawings, Prints opens October 21, 6-8 pm at Barry Whistler Gallery, 315 Cole Street #120, Dallas, TX 75207. The exhibition runs October 21 – November 25, 2017.

Edward Tufte’s “intense continuous time-series” reduction of data into a strong, specific graphic line (from The Visual Display of Quantitative Information, 1983) was eventually re-named “sparklines” in 2006. Sparklines as my exhibition title is a tag for my own poetic translation of Tufte’s “extreme compaction of process and experience” into a line.

My CV outlines exhibits from 25 years as a professional artist, including publications which feature my work: Texas Abstract / Modern Contemporary by Michael Paglia and Jim Edwards [Fresco Books/SF Design, Albuquerque, NM, ISBN 978-1-934491-46-1, pp 204-209 (photos)] and “New American Paintings” Juried Exhibition-in-Print Number 48, 2003 [pp 134-137 (photos).] I also have a forthcoming October Press Release of the most recent 2017Juried Exhibition-in-Print Number 132 publication from “New American Paintings.”

In those 25 years, my work in painting, drawing, printmaking and sculpture has explored a process oriented conceptual abstraction using re-construction or re-assembly of my bank of invented imagery. The Sparklines show includes paintings, drawings and prints from my “Octagon Vibration Series” (OVS) of intuitive architectural spaces, digital explorations and continued arrays of interconnected parts. Some of this OVS work is map-like as an intuitive translation of experience in a place—a type of spatial graph that is also structural. My art has been influenced by excursions to northern New Mexico; Cape Cod, Massachusetts; and Paris, France. The Dallas Museum of Art “Dozier Travel Award” enabled me to go to the Westfjords and the Reykjavik area in Iceland in 2015.

The translation and re-translation of the components of my visual vocabulary employs a process of investigative diagramming and orthogonal projections using plan, elevation, cross-section and extrusion. This process allows my images to be intuitively found, extracted, analyzed, shifted and represented in various arrays. These systematic formulas are sometimes borrowed from meaningful sources (i.e. a London Heathrow Airport terminal plan in the drawings “Octagon Vibration Series/Heathrow 1-4,” 2017; or the Dallas Contemporary floor plan in the drawing “Octagon Vibration Series, Escape Hatch/Observant,” 2017.) However, as exemplified in “Heathrow 1,” they are often subverted for my own intentions.
Serial arrangements exist throughout my paintings, drawings, prints and sculpture as this process perpetuates my conceptual abstraction and reinvents particular aspects of my image bank. My “Octagon Vibration Series” started in 2013 as an inverted continuation of my “L.E.D.” series. The black paintings with bright lines in L.E.D. (The Title of the Exhibition is like a Poem) began with a mental picture of electricity and dark water gleaned from Lautreamont's 1868/69 Les Chants de Maldoror. Further inspiration included seeing a resonant yellow line on the airport tarmac. These thoughts evolved with sonar and radar as homage to leading, finding and the heaviness of a searching act. The subtitle “Octagon Vibration Series” (or OVS) is partially in recognition of the Swiss artist/healer Emma Kunz (1892-1963) who harnessed spiritual energy and used a divination tool in her abstract drawings to find beneficial results for her patients.
For the new work in Sparklines I applied direct drawing on large paper, but also rebuilt and mixed parts of my OVS multiple plate drypoint prints using digital programs and creating works such as the print “Untitled 1-R,” 2017, pigmented print on paper from digital OVS, 22x18 inches. Since technology (the photograph, Xerox machine or new digital programs) has always been a tool for artists of my generation, I was curious now to employ digital printing to canvas as part of my painting process. Enlarging select new digital images and printing them at 40% would allow me to work on top of the printed ground and continue the making of my overall image. The painting “Octagon Vibration Series/Radial Velocity,” 2017, acrylic and solvent based ink on canvas (printed canvas from digitally altered OVS print), 48x36 inches, is an example.   

Satisfied with the digital results, I was also curious to explore handmade grounds that mimicked the 40% under print. Furthermore, visits to prehistoric sites such as Monks Mound/Cahokia Mound in Illinois and Effigy Mound in Iowa ultimately influenced a few new works as well. For example, the painting “Octagon Vibration Series/ Blue Shift after Effigy Mounds National Monument, Harpers Ferry, IA,” 2017, acrylic on canvas, 72x60 inches. (I’ve since explored Mesa Verde, CO and Chaco Canyon, NM.)

A timeline of sorts marking my process for Sparklines begins with the OVS series in 2013. Then, multiple plate drypoint prints anticipating a trip to Iceland. Next, actually traveling to Iceland with my 2015 Dallas Museum of Art travel award. This resulted in more OVS works specifically influenced by places in Iceland [i.e. the drawings exhibited in the group show Tangled up in Blue such as “Octagon Vibration Series, Isafjordur (Westfjords, Iceland).”] As explained earlier, the studio work then became an investigation into ways to use some of my favorite Iceland multiple plate drypoint monotypes as a source for new large drawings, paintings and digital prints.

Some resultant works and their relationships are the print “OVS#27” for the drawing “OVS/Escape Hatch/Between” and the print “OVS#22” digitally mashed up in the earlier mentioned print “Untitled 1-R.” “Untitled 1-R” was then used as a ground in the aforementioned painting “Octagon Vibration Series/Radial Velocity,” (as well as in the painting “Octagon Vibration Series/Red Shift Frequency Fold,” 2017, acrylic and solvent based ink on canvas using altered OVS digital print, 72x60 inches.) Of note, developing an image through process and layering is also imbedded in the OVS multiple plate drypoint monotype source works. They are made from my collection of 50 plus copper plates that are interchanged in the printing process to develop variations in the final image. One might recognize and locate part components of my visual image bank while viewing my work, finding in the process what is akin to landmarks in my work’s terrain.

As with Kunz and the artist Agnes Martin (Canadian 1912-2004), there is a meditation in the making of my art. Besides a practice based in process, my work is often influenced by my travels to specific sites and experiences. However, these site visits may not show up literally in the image. Drawing on wide sources of arcane knowledge, the work is map-like as an intuitive translation of experience in a place—a type of spatial graph that is also structural. While elements from map making often appear (i.e. wind roses), one point of view gives in to multiple views. The work is painstakingly slow, like balancing needles. One mark, sign or symbol is incrementally built up, connected to and leading to another mark, sign, or symbol. The incremental line building in my work is similar to Joanne Greenbaum’s paintings (American b. 1953). The incremental building through layers is similar to works by Julie Mehretu (Ethiopia b. 1970). Furthermore, my structural mediation of the diagrammatic visual language is more akin to Greenbaum and Mehretu, rather than the precise drawings of Jorinde Voight (German b. 1977) or the cartography of Emma McNally (b.1969 England). It always felt right when critic and writer Charles Dee Mitchell described my work as “a drawing that works itself out in front of you.”