As if these images in Odin-Odeon (September 2-October 8 at RMCAD) weren’t hard enough to decipher, here’s a movie that makes several of them into a squishy, churning mass. All of the prints in the movies are made on the same etched plate, though you might not be able to guess that at a glance by looking at them side by side. The etched tones on the plates create a pull toward certain shapes, gestures and patterns, and the animation takes advantage of that common thread.
If you haven’t seen the show yet, come by, and if you’re reading this before Friday, September 10th, come by between 5 and 8 for the opening reception. All the info you need about Odin-Odeon, as well as several images, directions, etc., can be found here (same link as above). Of course, get in touch if you have any questions or thoughts.
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A few new items as the exhibition at RMCAD approaches (reception on September 10th). If you’re not already aware of the blessed event, you’ll find all the info you need on this page, as well as several images.
On your left, a 2 minute trailer for the show, a strange reading of Odin’s time hanging upside down from the great tree, with moving abstraction made entirely from the etchings and monotypes that will appear in Odin-Odeon. There’s a video component to this exhibition, but it will be very different from this. You’ll see.
Also, here’s a preview of the show from Anselm Etting, who is very kind indeed:
“At first, the etchings & monoprints in Eric Waldemar’s Odin-Odeon seem shamelessly archaic. A warm palette of earth tones and a concern with the rhythmic mystery of the agile brush reflect a long engagement with the drawings of Rembrandt, Hakuin and Homare Ikeda. Given time, these tiny images unfold in the mind, often with several simultaneous layers of imagery. They feel weighty at first glance, but after close attention, many are subtly hilarious, especially in combination with Waldemar’s wry, deadpan titles.
Then there are the movies, displayed on a tiny screen to force close attention. These intricate rhythmic abstractions use this series of prints as source material, transforming their already ambiguous subject matter into a trembling, bewildering dream. Tiny jewels of abstract cinema, they also suggest an approach to the accompanying prints, to which the viewer returns with a fresh eye for close detail and half-hidden treasure. “
Gosh. Thanks. See you there, everyone, and if you’re too far away to make it, I’ll try to keep adding images to the Odin-Odeon page, so you can attend vicariously. Either way, thanks for having a look. Leave a comment on the site if you end up having a thought. Thanks.
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Maybe it’s the teapot mesa horizon – I’m not sure what else ties this monoprint (mine) to George Herriman’s Krazy Kat, one of the oddest and greatest comic strips in history. It’s what I thought of right away when it came out of the etching press, though, so I’ll let the inexplicable title stand, even though I don’t quite get it myself. I still see it, but I don’t know why I have the association. In any case, a few words on the Kat, and some loosely related thoughts she brings to mind:
(Right: One panel, c.1937) If it weren’t for Herriman’s deft touch with ink and balance, the strip’s humor, erudition, bizarre ethics, and anti-romantic antics would fall flat, I imagine. If Krazy Kat‘s straight-faced wit doesn’t connect with you, there’s no way to explain “what’s so funny.” This is generally true of art that’s worth spending some time with, maybe. The moment of getting a joke is the whole point – the logic suddenly flips, pivoting on a word with two meanings, or something like that. If it’s explained, it’s ruined. Forever. With pictures, that moment is harder to describe,especially if there’s no joke. The mind is somehow diverted into an unfamiliar route. Continue reading →
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Letters and Speechlessness will soon be coming to a close after a great five-week run in at ArtWorks in Letterkenny. Rian Kerrane added text to “Velvet Letters” nearly as fast as the people of Donegal provided it, so the piece became more and more elaborate with passing weeks. Our reception was terrific, packed with friends, family, and people whose curiosity was sparked by a great article in the Donegal News. More recently, there was an article in the Letterkenny Post (page 53) and there’s a profile of Rian in the Donegal inTouch ezine, which focuses on Irish artists abroad and includes a mention of this latest show, as well as a picture of the family from this Spring..
Glass artist Michelle O’Donnell came with her family from faraway County Offaly, and sculptor Sarah Lewtas and her partner, painter Ian Gordon, came down from their hideout near Mt. Earagail. I talked about Redmond Herrity in an earlier post. Seamus Quinn was in good form, hosting the best party in Letterkenny, and we ended the night at the Cottage Bar, with our spirits further elevated by the company and generosity of the celebrated Frank Kerrane, Rian’s father. Like many good nights in Ireland, this one required a little recuperation time the next day. Continue reading →
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At our ArtWorks opening in Letterkenny, we saw Redmond and Orla Herrity for the first time in a year. Redmond is a superb stonecarver, and he invited us to come by his studio the next morning.
Damaged stonework from Letterkenny Cathedral.
He’s carving some replacements for damaged stones in the spire of Letterkenny Cathedral (more accurately, Saint Eunan’s), and everyone in the region is familiar with the huge stone cross that towers on the other side of the street, incised with Celtic knots & tangles that have roots in pre-Christian Irish culture. His grandfather worked on the cathedral when it was being built over a century ago, and he and his ancestors’ work is bound up with the fabric of life in this part of County Donegal.
His personal work delights in the paradoxes of mass and fluidity that are brought about when pliable materials are “turned to stone.” One piece seems to have been indented, impossibly, by the pressure of a finger. Another piece translates a scrap of twisted sheet metal, found on the beach, into unyielding marble. (Image below.) This material, of course, can’t twist even a micron without cracking or shearing off, and the ambiguities of representing the soft with this hardest of sculptural materials has fascinated sculptors since Bernini and beyond. Continue reading →
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When someone is sent to find the old man, all else has already failed. If he’s not out in the boat, he’s out walking, some way off the paths, in-turned, but aware of each sound and scent, and each combination. He’s always just wrapping up as you arrive, tucking bundles in his bag. What do you need then? Cordial, willing, he is, and not surprised to see you.
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No scandal just yet, despite the lurid title, but come by the reception this Saturday (July 17th) if you’re in the area, or if you can be. If shocking behavior occurs, this is where it will likely take place. Get yourself to ArtWorks, Port Road, Letterkenny , County Donegal, Ireland (opposite the An Grianan Theatre), from 7 to 9 or so. The exhibition exists on the unheralded fringe of Donegal’s Earagail Arts Festival, which has been helpfully arranging major arts events across the street practically every day for weeks. It’s a great time to be in Letterkenny. Continue reading →
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The other evening in the wee hours, I heard News From Babel’s “Letters Home“ (1985) for the first time in a few years. This is music that continually surprises, with melody that takes sudden turns and twists, alternately giddy, melancholy, hysterical, and politically strident. It’s an album I’ve heard dozens of times, and there’s always more to hear. The style is difficult to describe to someone who’s new to this whole area of music. What area of music, you ask? Again, a difficult question.
This record is one remarkable artifact from a distinct group of like-minded musicians that has assembled and disbanded in various configurations for about 40 years now. Those various groups, like Henry Cow, Slapp Happy, Art Bears, Cassiber, Skeleton Crew, Naked City and Massacre, are too diverse to categorize, ranging from giddy, wry pop tunes, to ear-splitting maelstrom, to complex, variously dissonant and delightful orchestrations, laced with some of the most sensitive, intricate group improvisation that has yet occurred on Earth. Continue reading →
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I spent yesterday helping to install “Kitchen Wallpaper,” a piece by Rian Kerrane, which Jessica Gross had already been working on for days. This food-encrusted room is part of “Artists’ Footprints” at RedLine in Denver, a show curated by Viviane LeCourtois. The reference to Charlotte Perkins Gilman‘s story is no accident.The walls are composed of apples, turmeric, stenciled honey, poppyseeds, pasta, and cumin, and it smells delicious. Rian’s off in Ireland setting up our installation at ArtWorks in Letterkenney, so this piece, and the cast iron handbags in Objectophilia, were installed by her loyal local proxies. Yesterday, Mike Brohman, who’s also in the show, came to the rescue, helping out for hours, after watching Jessica and I struggle with layers upon layers of layers that were obviously going to take a lot longer than planned. With his help, we were home by 10 pm. Spectacular July 3rd fireworks awaited me in my neighborhood when I got home. The piece is pretty amazing, yes? Try to resist nibbling on the walls.
The version of “Old Tongue” that just opened at ArtWorks is too quick and detailed to come across on the web, but by trying to strip it down for compression, I came up with a very different version, one that leaves recognizable imagery mostly behind for a flattish world of peeling and twisting. If you’re in Ireland, it’s up now, in Letterkenny, but I won’t be there until next week. Hope you like this variation.
(Update: I’ve arrived. If you didn’t arrive here via my home page, click here for more info on this show, Rian Kerrane‘s piece, Velvet Letters, curator Seamus Quinn, and the opening reception, which is coming up in a few days as I write. Here is another link, to my description of Old Tongue, my contribution to the exhibition [with a composite image].)
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Don't miss the reception for ODIN-ODEON on September 10th. The show runs from September 2nd until October 8th. Let me know what you think. Click the wiggly thing above for more info.
Time Casts Shadows
Edges soften or harden depending on the light source. Months merge to quick glimpses in the shadow of memory.Flashes are given sequence, and from the mind's turbulent puddle, we conjure up a stream.
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\Welcome to Waldemar Pure &\\
\\Applied Research.
Please stay with your assigned group.
E.W.
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Far from Home
An itinerant mechanic wanders an unfamiliar planet.
For all the art talk and theory, an artist, regardless of their specific beliefs and cosmology, knows that when it goes well, the moment of making is a moment of grace, some kind of gift, a treasure and a privilege. This experience is as old as art is, although a lot of contemporary art talk belittles it. We, as artists, the kind that I mean, are not just content providers for... a luxury market, a network of institutions, a sophisticated discourse, and a social scene. We are, at our best, much more than that. What, then? I don't know, still. I just have a thread that I need to follow.
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