Tradition Interrupted, Opening Thursday April 11, 2019
by: Chesa Wang and Claire Astrow
In this era of identity politics, in which the qualities that make us unique are being emphasized and celebrated more than ever before, it is no surprise that artists around the world are utilizing their personal memories and ancestries as the building blocks for their art practice. Bedford Gallery’s upcoming exhibition Tradition Interrupted highlights work by international, contemporary artists who merge the traditional art and crafts of their heritages with contemporary ideas to produce innovative, hybrid creations. These artists work in a range of media including rugs, quilts, and ceramics. Many of their works tell complex stories of traditions and customs that are diminishing, yet still very much persist in today’s contemporary society and the memories of the people associated with them. Others are interested in telling revisionist histories through their art – challenging our often times limited and stereotyped understandings of other cultures. Tradition Interrupted asks our viewers: What can be gained from revisiting and revising these traditions and the histories that come with them?
Artists featured in this show include: Faig Ahmed, Serge Attukwei Clottey, Camille Eskell, Mounir Fatmi, Ana Gómez, Shirin Hosseinvand, Suzanne Husky, Dinh Q Lê, Jaydan Moore, Ronna Neuenschwander, Ramekon O’Arwisters, Anila Quayyum Agha, Jason Seife, Steven Young Lee.
Left: Serge Attuwei Clottey, Common Men Series XXV, 2015, fabric, wire, plastic, hardboard, 20 x 20 inches, Courtesy of Ever Gold [Projects] Right:Serge Attuwei Clottey , Common Men Series IX, 2015, Fabric, wire, plastic, hardboard, 22 x 20 inches, Courtesy of Ever Gold [Projects]
Above are works from Ghanaian artist, Serge Attukwei Clottey’s, series Common Men in which he takes Kufuour gallons, plastic yellow oil containers repurposed to hold water, and brings them to life. These containers have become a valuable trading asset due to Ghana’s water scarcity issue. By placing these plastic “faces” against traditional African wax prints, Clottey calls into question Ghana’s history of colonization and the economic and environmental strain that was left behind.
Ramekon O’Arwisters, Mending #34, 2018, fabric, ceramic shards, 14 x 11 x 10 inches, Courtesy of Patricia Sweetow Gallery.
Another must see in Tradition Interrupted are the works of Bay Area based artist Ramekon O’Arwisters. O’Arwisters is the founder of Crochet Jam, an ongoing project based on the connection between the African American weaving tradition and community. His pieces are vibrant fusions of broken ceramic and fabric that recall his childhood in the Jim Crow South as a queer, black child, during which the love and acceptance he found in his family past-time became of utmost importance to him. Be sure to stop by the gallery on June 1 from 3 – 5 pm when Ramekon brings his Crochet Jam workshop to the Bedford Gallery! This art workshop is perfect for all-ages and no experience is necessary. More information can be found here.
Jaydan Moore, Specimen #5, 2013, silver-plated platters, 27 x 24 x 2 inches, Courtesy of Ornamentum.
Coming from unique family history of fourth generation California tombstone makers, Jaydan Moore’s art reflects his fascination with memory, heirlooms, and everyday objects. The ordinary objects he uses are selected from thrift stores, such as the platters featured in the above photo. Moore’s work stands alongside others in Tradition Interrupted that explore the complicated and hidden lives of objects. Moore acknowledges the unique history behind all of these seemingly irreverent objects and alters them, giving them a new chapter in their history.
We hope you join us for the opening reception of Tradition Interrupted, Thursday, April 11 from 6 – 8 pm. Admission: $5 general, $3 youth (13-17), 12 & under free. Free for Bedford Members. The show will be on view through June 23. More information can be found at bedfordgallery.org/traditioninterrupted.
Meet Chris Duncan, Artist who Harnesses the Power of the Sun
by Claire Astrow
Meet Chris Duncan, an artist based in Oakland, California who is featured in Bedford Gallery's current exhibition Altered States. Duncan employs the sun as the engineer of his ongoing experimental series of ethereal fabric works.
Chris Duncan’s fabric material on the rooftop of the Walnut Creek Ceramic Studio, 2018.
Chris Duncan, Left: June 21, 2018 (red/black) Right: June 21, 2018 (red/brown), 2018, sun and time on fabric, 7 x 5 feet.
To begin, Duncan places manufactured, colored fabric in carefully chosen locations, such as warehouse skylights, windows, or rooftops, or on personally meaningful objects. Altered States features a new, site-specific body of work by Duncan, with fabric that was placed on the rooftop of the Walnut Creek Ceramic Studio. The artist will occasionally fold or stitch thread into the fabric in advance of placing the work to “cure” under the sun. Once the fabric is in position, Duncan waits, generally six months, for the imagery to emerge through ultraviolet exposure. After the long wait, the artist will “harvest” the pieces and place them onto stretcher bars like a painter would with canvas. The final piece is a document of the significant transformation the fabric has undergone in the absence of human interaction. Some areas of the fabric reveal large swaths of bleached, sun absorbed imprints. However in places where Duncan created folds and creases, the fabric appears unscathed and distinctly darker than the rest.
Chris Duncan, IF THE SUN IS I AM (6 month exposure), 2018, text sewn into fabric pre-exposure and removed post-exposure. Sun and time on fabric, 24 x 18 inches.
Chris Duncan, SYMBOL (6 month exposure), 2018, sun, thread and time on fabric, 25 x 25 inches.
The artist’s practice serves as homage to the celestial powers at work, as well as a reflection of what is possible when slowness, patience, and a reverence for natural materials are brought to the forefront. This quiet, creative exploration is at the crux of what the exhibition Altered States hopes to instill upon viewers. In the words of Heather Marx, the guest curator of the exhibition, “I feel nature is animated and when you pause and take the time to look, you recognize patterns and truths that mimic the human condition.” In an age of rapid speed technology and communication, the ability to witness time passing by is a radical, if not magical act. Bedford Gallery is honored to have the meditative work of Chris Duncan as our fearless guide into this altered state of slow, methodical presence.
Chris Duncan and his family at the Altered States opening, 2019.
Meet Altered States Artist Mari Andrews, Who Sculpts with Flower Petals And Lichen
by Claire Astrow
Artist Mari Andrews with her artwork along with writer Patricia Watts at the opening reception of Altered States, 2019.
Meet Mari Andrews, an artist featured in Bedford Gallery’s current exhibition Altered States, who creates delicate sculptural forms inspired by her natural environment in the Bay Area and the Sierras, as well as human diversity, human interconnection, and geological processes. The pieces she displays in Altered States are carefully composed of wire, flower petals and types of lichen, an organism that arises from algae. Though not drawn on a piece of paper, Andrews considers her 3-D work as sculptural drawings that articulate a private language, depending on the viewer’s interpretation.
Mari Andrews, Petal Drawing H, 2015, Dahlia, Marigold, Zinnia petals on paper, 7.75 x 10 inches.
Andrews’ work seamlessly combines utilitarian, man-made materials such as knotted metal wire, with objects from nature. This duality is inspired by the artist’s time outdoors; Andrews is as an avid walker, hiker, and camper and actively looks for ways to escape city environments. In the serenity of natural spaces, the artist takes time to observe the simple, intricate, and mysterious items she finds. Sometimes she imitates their forms when she’s building her sculptures.
Mari Andrews, Helium, 2010, wire, tree moss, 21 x 6 x 6 inches.
Andrews’ intriguing organic structures allow viewers to make connections between themselves and phenomenon they’ve witnessed in nature. In her wire and lichen sculpture Helium, a fragile, web-like structure made of wire ascends from a woven, nest-like base. A string of questions might arise from viewing this piece: Why does this work seem familiar? How long would it take a bird to build a nest like the one in Andrews’ piece? What is their building process? By imitating geological forms, Andrews work facilitates viewers to experience an intimate connection to nature.
Mari Andrew's studio in Emeryville, CA. Image courtesy of the artist.
To create these 3D works, Andrews starts by gathering, sorting and cleaning the lichen, petals and other natural materials she finds on her many walks. She gathers green-grey lichen from coastal areas – it grows on oak trees. She gathers fallen lime green lichen from pine trees in the Sierras. Then she constructs the wire form to hold the lichen in place.
Andrews calls these wire creations “drawings.” In a recent article in Luxe Interiors + Design, writer Tate Gunnarson described how for nearly 20 years, Andrews’ simple drawings were her final product. Over time, she discovered she didn’t need the paper, so she started drawing with wire. “Many people call this sculpture,” she told Gunnarson. “To me, these are all still drawings.”
Klea McKenna Translates the Secret Life of Trees in BG's Upcoming Exhibition
by Claire Astrow
Let Bedford Gallery’s upcoming exhibition Altered States be a spa resort for your mind. The show, which opens this Sunday January 13th and runs though March 24th, offers visitors a much needed opportunity to unwind, catch their breath, and gain a new perspective for the natural forces at work in their everyday lives.
Jay McCafferty, Blue #56, 2016, solar burn, rust, pigment on paper, 3 x 3 feet; Victoria Wagner, Woodrock: Night Country, 2016, redwood burl and oil paint on polished steel, 11 x 17 x 9 inches; Klea Mckenna, Automatic Earth #81, 2017, 4 panel photographic rubbing, unique gelatin silver photogram, 38.5 x 46 inches.
Guest curated by Heather Marx, Altered States features artists across multiple generations living and working along the California coast who harness natural elements and/or the environment to create their artwork. The artists work in a wide range of media and share a passion for creating art that is about process and reclamation. This exhibition highlights the natural cycles of our complex environment and offers visitors an opportunity to slow down and reflect on the interconnectedness of the sun, moon, air, and tides.
Klea McKenna, Born in 1717, 2017, 4 panel Photographic rubbing of a 300 year old Incense Cedar tree, Unique gelatin silver photograms, 38.5 x 46 inches.
Over the course of the next few months, we will feature interviews with artists presented in Altered States. First up in this series is Klea McKenna, an artist based in San Francisco, who creates site-specific and time intensive photographic rubbings and video installations.
Klea’s Automatic Earth series is the result of a meticulous process of embossing the rings of a tree stump onto light sensitive paper, a process that can take up to a full day to complete with the majority of the work occurring in the shroud of darkness.
Many of us don’t think much about how a tree moves from infancy, through its teen years, into adulthood, middle age, twilight and death. Visual artist Klea McKenna’s photographic rubbings ask us to look at a tree very differently – as a life full of drama, force, even violence, and one that is shaped by weather, erosion, decay and growth.
For more information on McKenna's work, visit her website at kleamckenna.com. And join us for a chance to meet the artist at the opening reception of Altered States on Sunday, January 13th from 3 – 5 pm. The show will run until March 24, 2019. More information can be found at bedfordgallery.org/alteredstates.
Klea McKenna in the studio during a residency at Lucid Arts Foundation, Spring 2018. Photograph courtesy of the artist.
What drew you to making nature-based art? Why have you chosen this subject matter? Do you have other inspirations in addition to nature that help inform your work?
I begin with a response to a particular location or element; one that has a personal or collective emotional charge. With a desire to record an imprint - rather than a picture of it - I devise ways that light-sensitive materials can interact directly with elements of an ecosystem. To me, landscape is an animate and emotive force rather than a pastoral depiction. In the drama and violence of weather, erosion, decay and growth there are allegories for human emotional experience.
Klea McKenna, Automatic Earth #84, 2017, Photographic rubbing of a Redwood tree. Unique gelatin silver photogram, 24x20 inches.
What is the work about, what is the concept? Is there a story? Please address specific artworks when possible.
The “photographic Rubbings” on view are part of a larger body of work called Automatic Earth. This title refers to what I see as a “blue print” that exists within nature; a plan within each organism to automatically generate a particular form or pattern that is then, inevitably flawed. I approach these broken patterns within the landscape as allegories for human emotional experience. It is where the pattern breaks that we are told something: a draught, a trauma, an interaction, the slash of a chainsaw…. a crack in the earth. Some of my subjects are spider webs and tree rings share a common shape, but one is fleeting and fragile while the other seems impenetrable and ancient. They grow and die on opposite timelines; the web exists for just one evening then is swallowed again by the spider who made it, while the tree grows for decades or centuries before it is cut down. The flaws in these pre-destined forms become a record of time and of labor and they tell the story of the life that made them.
Klea McKenna, ALMA, 2017, Single channel video installation with sound, 9:37 minutes - looped.
Tell us how your work is made. What are the steps in your process? Describe the tools and materials you use. Why do you use these materials/tools and where do you source them from?
I use simple materials - light-sensitive paper and handmade tools - to make outdoor photograms and “photographic rubbings”. Photographic rubbings are hand-embossed imprints of earth, concrete and cross-sections of trees that are then exposed to light and in some cases collaged together into fictional forms. This process evolved out of years of making photograms, often working on-location in the landscape, using the nighttime as my darkroom. The work itself has generated an unlikely prescription for both how to experience the landscape and how to create evidence of what I’ve felt there. Recording labor has become increasingly important in my work; both that of a spider slowly weaving her web, and of a woman on her hands and knees rubbing the surface of the earth. Both gestures are a way of invisibly tending the world with our bodies. Patience, time and physical labor are as crucial to the subject of these images as to the process by which they are made. This method of working feels simultaneously like reading braille, like praying and like gambling. Risk, faith, and touching something unknowable are all part of my practice. In working this way I urge my antiquated medium forward, challenging analog photographic materials to amplify what is felt, rather than to document what is seen.
Kristin Farr Debuts Her Massive, Vibrant Walnut Creek Mural
by Claire Astrow
Kristin Farr, West Coast Barn Quilt, 2018, acrylic paint on DiBond panels, 28 x 16 feet, photo courtesy of Bedford Gallery.
Head over to the Bedford Gallery one of these dreary winter days and you will be miraculously doused in much needed summer sunshine and warmth, thanks to a brand new vibrant mural by Bay Area art star Kristin Farr. Titled West Coast Barn Quilt, this massive, vividly hued 28 by 16 foot mural is prominently displayed on the exterior wall of the Lesher Center for the Arts, which is home to the Bedford Gallery.
The mural was hand-painted on site by Farr using no masking tape or straight-edge tools. She selected a customized palette of 16 colors in response to her impressions from walking around downtown Walnut Creek, and asking passersby “what’s your favorite color?” Noting that the Lesher Center and the new mural mark the northernmost point of the City’s downtown Arts District, Walnut Creek Mayor Justin Wedel observes that “this vibrant, eye-popping work of art will catch the imagination of viewers and serve as a bright and colorful signpost for the Arts District.”
With Farr’s mural, the City of Walnut Creek is inaugurating a program to create murals on publicly visible walls throughout the downtown area. West Coast Barn Quilt will be displayed for up to five years before a new artwork is solicited from artists.
Kristin Farr and her winning concept were chosen from a pool of talented artists by a selection panel that included Walnut Creek Mayor Justin Wedel, Councilmember Kevin Wilk, Arts Commissioner Glynnis Cowdery, Walnut Creek arts advocate and Bedford Gallery docent Carol Fowler, and arts professionals Ken Harman, Director of Hashimoto Contemporary, San Francisco; Michelle Mansour, Director of Root Division, San Francisco; and Leo Bersamina, artist and professor of art at Diablo Valley College. The panel’s recommendation was approved by the Walnut Creek Arts Commission before Farr began work on the mural.
Kristin Farr, West Coast Barn Quilt. (progress shot), 2018, acrylic paint on DiBond panels, 28 x 16 feet, photo courtesy of Bedford Gallery.
Kristin Farr’s paintings are directed by color and influenced by folk art practices. Her brightly colored, often geometric designs create a three-dimensional illusion that is both playful and captivating. Farr’s Magic Hecksagon paintings are a nod to her family’s roots in Pennsylvania Dutch folk art.
Kristin Farr, West Coast Barn Quilt (progress shot), 2018, acrylic paint on DiBond panels, 28 x 16 feet, photo courtesy of Bedford Gallery.
Farr is a visual artist and arts journalist based in the San Francisco Bay Area. In addition to her studio and public artwork, she curates art projects for Facebook’s artist-in-residence program. She has exhibited her work widely in the Bay Area, including Yerba Buena Center for the Arts, Berkeley Art Center, and Palo Alto Art Center. She has also completed mural commissions and public art projects for Kaiser Permanente (Sacramento, CA), Facebook Headquarters (Menlo Park, CA), Pinterest (San Francisco, CA), Berkeley Art Center (Berkeley, CA), Taipei City Zoo (Taipei City, Taiwan), and Bonnaroo Music Festival (Manchester, TN).
Head on over to the Bedford Gallery to view this stunning piece in person! And be sure to check out Bedford Gallery’s extensive public art collection.