Molly Wasielewski’s beaded works relate to Marissa DeGolier’s necklace of “beads”, and the notion of weaving is in dialogue with Faith Icecold’s fiber art in the form of quilts. Wasielewski begins with a photo, inserting it into a digital software to help construct the patterns, enacting a complex relationship between the bead and pixel. In this way, the work is translated from digital to physical (a photograph) back to digital (the software to pattern the piece) back to physical again (the artwork itself) and then finally back to digital (the documentation of the work for this show). This process of repeated translation mirrors Jaquelin Zazeuta’s explorable 3D model, which originated with handmade sculptures then scanned and reformed into a digital sculpture. Zazueta’s work takes earthly materials and transforms them into an otherworldly model that could exist in the future or the past just as easily as the present day.
Tommy Smits’ works incorporate found image, found object, rocks, and other materials into modern-day artifacts. He builds sculpture in a collage format reminiscent of Faith Icecold’s quilts. Icecold holds a belief that quilts are colorfield sculptures. In their work, playful objects such as a mini leather jacket and a sequined butterfly speak to Smits’ toy dinosaurs and tiny hourglass. Both artists utilize found image as well as found object, yet the material decontextualized from their original sources are more abstract in nature than designed to be referential as specific substance or prescribed meaning for the work.
Marissa DeGolier’s rosary, Collections Surround, is fabricated from found hardware, various collections, and handmade wooden beads. The wooden beads are made from an old mop, some of the keys are from their grandmother’s key collection, some leather is repurposed from a belt. This collection of debris and recycled materials is related to the human body in its form and function, but also is a monument to the abject, a construct of castaway objects. Jennifer Garcia’s Tramp Stamp sculptures are inverse of one another, one a carving into plaster and one a drawing on top of the surface. The depiction of these “tramp stamps” are witty, yet there is something ephemeral and delicate about the end result of these gentle marks on plaster. Her zoning in on one specific part of the human body relates to both DeGolier’s necklace and Joe Greer’s Particle Sieve, another sculpture that anthropomorphizes an object related to the abject in the form of a comb. Greer then further integrates his work into the digital sphere by animating it accompanied with a score by Noah Towne.