LET IT BE (here)
AND/BUT
LET IT BE (there)
Credits:
Talk Back letterpress broadside by Judi Goldberg & Eric Johnson
Once We Knew letterpress broadside by Judi Goldberg
outwith construction by Brooke Holve (from Cuts Make You. exhibition at the Morris Graves Art Museum)
I am one of a number of artists who will be showing work at
The Art of the Book
at the Sebastopol Center For the Arts.
The work was selected by juror, Betsy Davids, owner of Rebis Press in Berkeley.
The exhibit, runs from June 17 - July 24, 2016
with an opening reception on June 17, from 6:00 - 7:30.
There will be an artist talk on Saturday, June 18, from 2:00 - 3:00 pm.
Sebastopol Center For the Arts, Galletta Gallery
282 South High Street, Sebastopol
Tues - Friday 10 - 4, Sat-Sun 1 - 4
An eventful reception last weekend at the Morris Graves Art Museum in Eureka. Following are a few views from the evening. The exhibit will be up through July 3, 2016.
My statement read:
"Artist, Brooke Holve contemplates the poetics of seeing in Cuts Make You., an exhibition of mixed media constructions, installations and an artist book. Her work reflects an exploration of 'cutting' as process and form as she cuts to see and cuts to make. She is interested in how to apply process to a material and arrive to a form that refers back to its making. The work is informed by the changing role of the book as the world moves to primarily digital delivery systems. Discarded book remnants are the dominant material of this work."
I am honored to present a solo exhibition of my work,
Cuts Make You.
at the Morris Graves Museum in Eureka, California.
It will feature installations, constructions and artist books
with a soundscape by musician, Paul Lamb.
Please join me at the opening reception on
June 4, 6-9 pm
During First Saturday Night Arts Alive
in the Anderson Gallery
The exhibit runs from
May 28th through to July 3, 2016.
Morris Graves Museum of Art
636 F Street, Eureka, CA 95501
Gallery Hours: Wed - Sun, Noon - 5 pm
For more information: (707) 442-0278
LUCID ART RESIDENCY ANNUAL EXHIBITION
I will have three works in this exhibition, completed during and after my residency at the Lucid Art Foundation last November. I will be showing with the other eleven 2015 artists-in-residents: Mari Andrews, Sophio Dillo Dixon, Toni Gentilli, Kimberley D'Adamo Green, Theodora Varney Jones, Patrick Keesey, Dorothy Nissen, Paolo Salvagione, and Denise Townsend. Please join us:
Sunday, April 3, 2016 3 - 5 pm
Gallery Route One 11101 Highway One Pt. Reyes Station, CA 94956
April 1 - May 8, 2016
*Please note that I will also have several works at Sometimes Books - behind the gallery.
"LEAFING OUT"
March 13 - June 19 with opening reception on
Sunday, March 13, 2 - 4pm
Sometimes Books at Eubank Studio 11101 Highway One Suite 105 Pt Reyes Station, CA 94956
Open Saturday & Sunday, 12 - 4 and by appointment, 415 669-1380
Beginnings: In Cuts Make You, I introduced prime numbers as a way to structure the series. With the wide open schedule of the residency here at the Lucid Art Foundation, I applied this way to structure a working routine. The vastness of 21 free days in the wilderness of Gordon Onslow Ford land was daunting. (Above: Gordon Onslow Ford, Present in Company, 1969. Acrylic/Linen, 93 x 140 inches)
So, when in doubt, resort to the prime. A schedule enveloped:
Oct 20: day 1 Catch Oct 21: day 2 Catch Oct 22: day 3 Catch Oct 23: day 4 Construct Oct 24: day 5 Catch Oct 25: day 6 Construct Oct 26: day 7 Catch Oct 27: day 8 Construct Oct 28: day 9 Construct Oct 29: day 10 Construct Oct 30: day 11 Catch Oct 31: day 12 Construct Nov 1: day 13 Catch Nov 2: day 14 Construct Nov 3: day 15 Construct Nov 4: day 16 Construct Nov 5: day 17 Catch Nov 6: day 18 Construct Nov 7: day 19 Catch Nov 8: day 20 Construct Nov 9: day 21 Construct November tenth: departure and return home
And an envelope to be ripped? And it was!
An exploration of this place as opposed to that place; seeking a particular type of relationship to it that connects to the other. I returned from Iceland with many impressions and thoughts about the place. What happens to these thoughts in a place close to home?
So these are some of the things that happened: At the residency, I disrupted existing conventional forms to find new shapes using natural & temporal elements.
1970s Vintage Development Maps of Pt. Reyes Peninsula: Acquired from Eleanor Murray's collection, I brought them to Inverness to reference the location of the residency. Not knowing what I would do with them, I first made rough cuts (and secondary cuts) into each to approximate the shape and sections of the studio. Then I established a visual line on the walls using masking tape. Waited. Thoughts about tectonic plates and the fault lines of Iceland and Pt. Reyes directed me. Breaking up the conventional forms of the maps became a side project during the residency while I worked on constructions using book parts and wondering how this exercise will influence my constructions. I will take the maps home to continue this process and see what happens.
Light Studies: Explored forms using changing light with pen and masking tape.
When Plans are Disrupted:
Constructions:
Early this year, I completed a collection of five artists books, entitled "Cuts Make You" in response to my solo exhibition, Cuttings, at Risk Press Gallery (Sebastopol) in October of 2013. For the exhibition, I installed an empty scroll book, inviting those who attended to mark it with blue masking tape and blue ink pens (refer to image above). Upon the closing of the exhibit, the unfurling revealed a motley but contained collection of writing, scribbles, lines, tape and words. These marks became the prima materia for Cuts Make You.
Upon the closing of the exhibit, I cut up, printed upon and cut into the scroll, applying the similar methods that attendees used during the exhibit. Applying tape randomly to the surfaces, I printed over it with a die cut of the floor plan of the gallery to reference the place of the exhibit. Over and on the masked tyvek, I printed to cut out new spaces. Cutting and printing generated pages and ideas. The result is a series of books that hold and reference the archival and ephemeral of the exhibit.
Since May, I've been away from my blog. Back this month to report to you some of my summer and fall activities.
I'm off to Inverness (on Pt. Reyes peninsula in CA) later this month for another artist residency, this one sponsored by the Lucid Art Foundation. And this time, intentionally close to home, for three weeks, solo without cell coverage and social media. So no reports during my time away but should have something to share upon my return. Lots of prepping, finding that I will take more than I take to residencies afar and certainly a way to complicate an experience.
When I have traveled to residencies somewhere else, I am often surprised by what I learn about my home. Three years ago in Iceland, I was awed by its raw landscape that had been shaped by volcanoes, glaciers, weather and its location in the Northern Atlantic. There I realized its connection to California--both lands edging the North American tectonic plate with Iceland on one end and California on the other. I wanted devoted time to experience my own landscape with this in mind. Inverness, though not situated on the North American plate shares the San Andreas fault which separates the No American from the Pacific. And like Iceland, its land has been shaped by invisible forces of the earth. At Inverness, I want to further explore this connection.
I am also interested in exploring place--what it holds and what I carry to it. When I applied for this residency, I wrote, "Using Inverness as a springboard, I will source possibilities for methods and materials from its history, stories and landscape. I will look at the archival remains--rocks and stones that hold the memory of the geologic forces that shaped the physical terrain. I will walk the terrain, feel its relief and make contour lines as I move through space. I will look at the scratches and markings of the rocks as well as their shapes. I also will be on alert to ways of letting nature and synchronicity enter into my process. These will be my entry points to a 'process conscious' project working with themes of the archival and ephemeral."
"Language, materials and natural energies of and from the place will inform my process. Like the rocks and stones that reflect frozen moments in a changing landscape over time, I will work towards shaping moments and find ways and forms that express the movements 'between'. "
I am pleased to announce that my work will be part of
The Art of the Book
Tenth annual exhibition
of handmade artist books, altered books & book-related objects.
May 5 - 31, 2015
Opening Reception on Saturday, May 9, 5:30 - 7:30
The Seager/Gray Gallery is located at 108 Throckmorton Avenue
in Mill Valley. 415.384.8288
Hours: Tues - Sat, 11 - 6, Sunday, 12 - 5
I have been invited to teach a workshop at the Pyramid Atlantic Art Center outside of Washington DC this summer. The description of the workshop is online under "book arts" and you can enroll by visiting:
http://www.pyramidatlanticartcenter.org/art_programs/register/index.html
More about the class:
Explorations with Urauchi
a Japanese method of backing paper to cloth and/or paper
August 8 & 9, 10am-4pm
Urauchi is a procedure of pasting a paper backing onto cloth or paper using only natural fibers. Traditionally, this method was used to mount Asian scrolls and cover books. Once backed, cloth and paper have more body and strength and are much easier to manipulate. The backing also provides a protective layer and prevents glue from staining the cloth when covering books.
In this workshop, participants will learn the simple procedure. However, the focus of the workshop will be experimental and hands-on, exploring it as an art medium. On day one, a variety of materials will be sampled, treatments tried, and materials sandwiched between. On day two, participants will make a sampler book with their experiments.