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LPP in Conversation visits Bay Area artists in their studios and project sites to explore the research, readings, obsessions, and inspiration they use to inform their practice.
Our third studio visit is with William Emmert.
William Emmert is from Seattle, Washington. He received his MFA from California College of the Arts and is based in Oakland. William Emmert and Joey Enos: Practice in Paradise was recently on view at Alter Space Gallery in San Francisco. He is represented by Guerrero Gallery, San Francisco.
In partnership with Art Practical, all videos stream on their website.
Kelly Lynn Jones & Maggie Haas
Little Paper Planes
Video and editing by Jon Brown
To view the video: Go here.
Teresa Lim is an illustrator and textile designer based in Singapore. She seeks to blur the boundaries between design and textile arts.
To see more from Lim, click here.
Legendary artist Betty Woodman is widely celebrated for her exuberant and vivid ceramic works that defy categorization as painting, sculpture, or pottery. Her singular experimentation with the vase form, as a contemplative and pictorial, as well as functional object, spans over fifty years—from producing utilitarian pots in the 1950s, to collaborations with the Pattern and Decoration movement in the late 1970s and 1980s, to her 2006 exhibition at New York’s Metropolitan Museum of Art, the institution’s first (and only) for a living artist working in ceramics, and its first (and only) retrospective for a living woman artist. In her recent mixed-media sculptures and installations, Woodman revisits the history of ceramics as a tradition of painted form, generating spectacular possibilities for the extension of painting into plastic space. -David Kordansky Gallery
Christiane Löhr is a German artist who delicately assembles and re-contextualizes found natural materials like horse hair, seeds and blades of grass. These images feature her sculptures and installations. To see more of her work, including her drawings, please visit her website.
Lisa Rybovich Crallé received her MFA from the University of California, Davis in 2011 and a Bachelors of Liberal Arts from Sarah Lawrence College in 2004, and she also studied at the San Francisco Art Institute and the New York Studio School. Her work has been exhibited in the US and abroad, including exhibitions at Yerba Buena Center for the Arts (San Francisco), Field Projects (NYC), Roots & Culture (Chicago), Weekend (LA) Proof Gallery (Boston), and the Dublin City Gallery (Dublin, IRE). Crallé has held numerous residencies, including Arteles (Finland), Ox-Bow (MI), ART342 (CO), and the Studios of Key West (FL). She is a project recipient of the 2014 Alternative Exposure Award as well as the 2011 Robert Arneson Award.
To see more from Lisa Rybovic Cralle click here.
Cortney Cassidy will be reading from her new book Internet featuring 50 poems, 15 interviews, & 99 problems about the Internet.
Jennifer Williams will be reading some poems
copies of the Internet book & an exclusive t-shirt will be for sale. Internet is published by C C O O L L
We (Daniel To and Emma Aiston) established the design studio DANIEL EMMA in 2008, to enable us to express our thoughts through Industrial Design. Our studio works on a large variety of projects, ranging from desk objects to installations. We look to create the unexpected from simple objects using simple forms, drawing influence and insight from the diverse culture that Australia presents us with.
Our designs aim to be ‘just nice’.
To see more from Daniel and Emma, click here.
Rachel de Joode (b. 1979, The Netherlands) lives and works in Berlin. Studied time-based arts at the Gerrit Rietveld Academie Amsterdam. De Joode s currently a visiting scholar at the University of Cincinnati, OH.
Solo exhibitions include: Soft Inquiry, K A N S A S, New York (2015); The Matter Of It Being A Stone, SWG3 Gallery, Glasgow (2014); The Molten Inner Core, Neumeister Bar-Am, Berlin (2014); Dust Skin Matter, Diablo Rosso, Panama City (2013); The Hole and the Lump, Interstate Projects, New York (2013); Real Things – Explorations in Three Dimensions, Oliver Francis Gallery, Dallas (2012).
Group exhibitions include: The Stanley Parable, Elaine Levy Project, Brussels; The New Beauty of Our Modern Life, Higher Pictures, New York (2014); Surface Poetry, Boetzelaer|Nispen, Amsterdam (2014); Notes on Form, 032C Workshop, Berlin (2013); Open for Business, STADIUM gallery, New York (2013); Wobbly Misconduct, LV3 Gallery, Chicago (2012); Bad Girls of 2012, Interstate Projects, New York (2012); Life Is Very Long, Bergen Kunsthall, Bergen (2012).
She was awarded the Deutsche Börse Residency Program at the Frankfurter Kunstverein in Frankfurt (2013) and the Sculpture Space funded residency (2012), and a residency at LMCC swingspace program at Governors Island, (aug’13 – jan ’14), New York, NY.
Currently in the groupshow: COOL – as a state of mind at MAMO – Centre d’art de la Cité Radieuse, Marseille (2015)
Artist Jesse Moretti first appears to be a painter, but a closer look finds her pieces subtly making inroads into sculptural space. This morph from image to object and back again mirrors Jesse’s own working process of sketching, rendering, printing and painting, as the forms in her work jump through multiple translations to land in their final state.
MH: Can you talk about color in your work? Many of your compositions are bright and bold, and some are more subtle but there is a play of complimentary colors that seems to be running throughout.
JM: The colors I use are constantly changing, depending on where I spend most of my time, but there is always an undeniable reference to the colors-scape of Miami Beach, where I grew up. I tend towards this continuous pastel spectrum, and filter it through the bright and bold digital RGB palette at some point within designing the work. So there is always a play between organic and digital colors.
MH: What is your studio process like? It looks like collage is an element in your work and I am curious what parts are digital, what parts are painted, how it all comes together.
JM: I like to think of my studio process more concerned with ideas of feedback, looping and translation, than of collage. Usually my process begins with sketching, which leads to vector based drawings. I’ll usually print these out and manipulate them in some way, sometimes, playing with the layout, etc. Then I’ll make paintings based of of these diagrams. I use a lot of frisket and airbrushing.
Sometimes it’s more based in photography, and I’ll photograph paper I’ve been working on, resulting in large scale digital prints of impossible spaces. Usually these relate to my paintings, both occupying an extreme flatness. I’ll have images traversing into and out of the computer at several points with my work, creating a process loop from physical to pure image and back again.
MH: You use a lot of framing devices in some of your recent projects, I’m thinking especially of your work for La Chose Encadrée, that muddy where the work begins and ends, and whether it’s an image or a sculpture or both. How did you come to start using the device of the frame in this way?
JM: The framed pieces are really sculptural objects. They are so physical to me. The image can’t exist without the frame and vice versa. The frame is the lens through which you view, defining the beginning and end of the work, but it is also part of the image, allowing the image to extend outwards into a low-relief space.
MH: Is see you recently had a residency at Kala in the East Bay… how did you like the Bay Area? Do you have any other residencies or shows coming up?
JM: I did, but it feels like a long time ago already! The Bay Area was wonderful, such a pristine environment. I’m currently in residence at ESKFF in Mana Contemporary, and will be following this up with a residency at Pioneer Works in Brooklyn this summer.