April 29, 2012 § Leave a comment
As the inaugural exhibition to be staged in Crane Art Old School’s The ~curARTorial LAB @the Malkovich, Bonnie Brenda Scott is currently at work creating an intervention in which she reflects on the accumulative debris of existence. It is stridently titled BURN THE WATER. In Scott’s own words:
“The show is going to be called BURN THE WATER. I’m gonna be utilizing the floor space mostly–expect a landscape emerging from the window area and progressing towards the opposite wall. I’m going to be using a lot of found material that I come across in my personal travels. Think river waste. If you want to think of the whole thing as the river emerging through the windows at sunset and filling up the space, that will be a pretty accurate description. Mixed in will be some new dimensional flesh-like wood, plexi and plaster pieces. There will be fades on the walls. There may be a soundscape emerging from the hole in the ceiling. the lights will probably be low. The story is about trying to hold onto an idea or an identity throughout a sweeping transfiguration. A softness in a fractured space”.
Anyone who knows Scott’s work will tell you she is both inventive and versatile as an artist, and that she demonstrates to have a peculiar fondness for representing stylized versions of the carnal ~ as in flesh-like, gut-like, inside-like bound spaces:
Scott has been celebrated in the media for a number of effective site specific installations and wall-based works, as well as for her uncannily delicate, and precise brushwork.
Previous training as an animator may well account for some of this technical prowess, but beyond the evident technical feat that is her work, one always comes upon the evidence of great aesthetic resolution in everything she makes.
Effectively transitioning between various media including printmaking, airbrush, and the fabrication of sculptural elements made of light woods, Scott has more recently been incorporating additional ephemeral elements including the use of light. Recent work illustrates this new dimension, one she wants to continue exploring in the immediate future.
Through her process Scott began to formulate a practical strategy in order to continue exploring the media she is now interested in incorporating into her repertoire, and this lead to the realization that a solid amount of time dedicated to the pursuit of an MFA degree can be an avenue for her to manifest this incoming creative state of being. It is all part of the bigger picture that will give Scott the opportunity of reaching for a higher level, especially within a context of hands-on, individual fabrication, in which she is keenly interested at the moment.
I have been wanting to get her to give me an in-depth interview, and it was decided that due to an uncommonly busy period of rampant multitasking for the both of us, an intermittent approach throughout the process period make most sense…(at least for now):
AR-L: I wonder about the desire to mold your artistic vision in 3-D now, as opposed to staying “on the wall”.Where do you locate the source of that impetus at this stage in your life + your work? And why one as opposed to the other?
BBS: I will say first off that the rectangle is a daunting object. The page, the panel, the wall: all of these limitless horizons. Having nothing to react to is terrifying. A human being is very little but a creature that reacts to things: making decisions based on circumstances; forming opinions on what he sees around him, or what affects his environment. “I am a happy person because of blank” or “My feelings have been tampered with by blank and I will express my dissatisfaction by doing blank.” My personality can be distilled into a set of feelings about other things–my humanness can be similarly distilled into a set of feelings I have about myself. All of these are reactions and cannot exist singularly within space.
The rounded edge of a non-angular object is a line traveling always with the possibility of an end or a change. The straight line and the 90° angle: these are infinites, traveling forever in a single direction without the possibility of change. They do not react–every action I take in artmaking is a reaction to something.
I will make an object because it is close to what I am. I am a thing and I exist in space. I am not infinite. I am finite. I do not know about what is not me.
More to come…
Public viewings and accompanying receptions for BURN THE WATER will be held from 5-10PMish or later to be held on:
May 5.10.12: Second Thursday & June 6.7.12: First Friday
The ~curARTorial LAB @ the Malkovich is located in Crane Arts Old School, Studio 3-A, 1417-25 North Second Street, Philadelphia PA 19133
You may schedule alternate viewing times for this installation “By Appointment Only w/RSVP” = BAO/RSVP