Regional Gallery - through MAR 29
At the root of my art, lies a fascination with the emotional, psychological,
and cultural implications of place. I am fascinated by the human ability both to
manipulate and be manipulated by an environment; and I revel in the often
confusing and multifarious mix-matches of meanings and associations that
cling to particular places. From interactive sculptures to images of western
landscapes constructed from fragments of cultural debris, my work explores the
dynamics that emerge from the interstices where people and place collide.
For me, the most interesting collision between people and place results from
our human interactions with the natural world. The sometimes poetic, sometimes
startling, but always-complicated relationship between nature and culture serves
as a never-ending catalyst for my work. In the series titled “Strange Topographies,”
which includes topographical drawings constructed from layers of intricately cut paper,
I explore the human drive to map, code, and demystify the landscape.
Inspired by geological illustrations, the works explore scientific representations
of the physical world and question the authority of the domain-specific language
of graphs, maps, and models; as well as our human ability to adequately
represent natural phenomena with true objectivity.
BEFORE I DIE...
2nd Floor Foyer - through MAY 24
After Candy Chang lost someone close to her, she was inspired to remind herself
and others what was really important in life. With Chang’s project, public spaces
are suddenly taken over by spray paint and chalk, begging passers-by to finish the
sentence “Before I die I want to _____ .” Her highly successful project has been
created all over the world in more than 60 countries and almost as many languages,
tying us all together with one common thread, while showing us that our shared
spaces can help us make sense of the beauty and tragedy around us.
Hoag Gallery - through MAR 29
Science and art naturally overlap. Both are a means of investigation.
Both involve ideas, theories, and hypotheses that are tested in places where
mind and hand come together—the laboratory and studio. Artists, like scientists,
study—materials, people, culture, history, religion, mythology—
and learn to transform information into something else.
Collaboration between the arts and sciences has the potential to create new
knowledge, ideas and processes beneficial to both fields. Artists and scientists
approach creativity, exploration and research in different ways and from
different perspectives; when working together they open up new ways of seeing,
experiencing and interpreting the world around us.
• • • • • • • • • • • • • • • •
Several teams from Pueblo Community College will create art projects centered
on scientific ideas, principles, and theories. The teams will be comprised of students
from all disciplines of study, from biology and psychology to the fiber artists and
painters of the Fine Arts department. Each team, with 3-4 college students,
also has at least one high school student, providing a great learning
experience for all involved.
THE MEANDER SERIES
3rd Floor Foyer - through MAR 29
All the images in the Meander Series are computer generated from a single
mathematical equation.The equation describes a curve. The equation tells
the curve how to turn. Imagine driving along the curve in a car. The equation
tells you how much to turn the steering wheel to the left or the right as you
drive along. For example, if you keep turning the wheel sharply to the right,
you’ll execute a series of loops or “donuts.” You can imagine coming up
with your own “rules” to make your own patterns. A snowy field is a good place
to try them out. Shuffle your feet to leave a trail. For example, you
could try this: Take one step forward, turn to the left, then take two steps forward,
turn to the left, then take three steps forward, turn to the left, then take
four steps forward, turn to the left, and so on! What kind of pattern does this make?
How does changing the “rules” change the pattern?
In the Meander Series, the rules being used are numbers and each number
defines how a different line is drawn. The “Meander equation” is a generalization
of a simpler equation used by geologists to describe the shapes of bends in
meandering streams. My equation includes more terms, and therefore has more
parameters that allows me to explore fanciful and ornate patterns not seen in nature.
Each image is constructed by conceptually laying down tens of thousands
(in some cases hundreds of thousands) of translucent lines roughly
(but not exactly) tangent to the original curve. Any given line has very
little “pigment”, so it would appear very faint on its own.
But as the lines are drawn overtop of each other the pigment density
increases and the form emerges (much like a watercolor painting).
When I say that the lines are “laid down” or “drawn”, I mean this is conceptually.
In practice the entire image in constructed in the computer,
and then the final image is printed.
Read more about our EXHIBITIONS
in the current issue of the MOSAIC: