Meet the Artist in Residence: Marisa Boyd

Marisa Boyd, artist in residence at Main Street Arts, during the month of May 2018, is working in one of our two studio spaces on our second floor. We asked Marisa some questions about her work and studio practice:

marisa boyd

Marisa Boyd

Q: Tell us about your background.
I am from Central Illinois, living in the town of Bloomington-Normal. I am originally from Channahon, IL which is near Joliet, IL. I moved to Bloomington-Normal in 2013 to attend college at Illinois State University for my BFA. Now that I am graduated, I enjoy reading a number of books I have laid out throughout my apartment and keeping a daily drawing practice. I spend my days walking throughout the downtown area of Bloomington and sharing an art studio with my best friend.

Q: How long have you been making artwork?
I have always been making art since I was a child. Moving forward into high school, I focused on more realism and narrative scenes. During the beginning of art school, my practice began to shift into abstraction. I went to Illinois State University for art school.

"Nothing Entirely Surprising" by Marisa Boyd

“Nothing Entirely Surprising” by Marisa Boyd

Q: What was your experience like at art school?
My experience was the most beautiful, busy, stressful part of my life that I have encountered so far. I have never not slept so much, staying up all hours of the night obsessing over the latest idea that popped into my brain.…which would word vomit to anyone I began talking to about art to in the hallway. I was similar to many former and current art students being willing to do anything to get further into their inquiry while simultaneously feeling like there was more that could be done. I still struggle with this today. Ultimately, I met incredible people and artists that have influenced me throughout my time at Illinois State University.

Q: Do you have a job other than making art?
I am a server at a farm to table restaurant called Anju Above in Bloomington, IL. On most days, I actually really enjoy my job!

Q: How would you describe your work?
I would describe it to be quiet with a hint of distress. I make simple drawings that are made with a micron pen. As well as shape cutouts that are made of wood, fiber board, paper, or fabric. I embrace simple gestures. My typical subject matter is abstract focusing on the “activity” of marks rather than an image.

Marisa Boyd

Marisa Boyd

 Q: What is your process for creating a work of art?
For two years I have been developing a personal drawing practice that engages me to seek a space within myself. Creating “Closed Eye” drawings is meditative that focuses on silence and my ability to see, hear, and feel my surroundings. I wait for the after image behind my eyelids to disappear, then I seek out shapes and specific colors. My closed eye drawings are my primary source material for creating larger works out of plywood, fiberboard, paper, etc. I cut into the drawings to create a hole and have a whole shape remaining.

Q: What are your goals for this residency?
I tend to plan too much, I set far too many goals instead of focusing on one or two things to work on. I have had a sketchbook project in my mind for the past month that I can’t wait to get the time to complete. In addition, my goal is to create as many paper drawing/ paintings as possible. I hope to find some material that will speak to me in a way that urges me to use my jigsaw to cut it into a shape with beveled edges. I am bringing a collection of velvet fabrics that are waiting to be the covering of a shape or used as a atmospheric ground.

Work by Marisa Boyd

Work by Marisa Boyd

Q: What is the most useful tool in your studio?
I call it my “sharp tool,” although I believe it is for printmaking. I stumbled upon it at the DickBlick outlet in Galesburg, IL. This tool lead me to a revelation with my work. I began to scratch lines into paper and tear it creating sharp openings. The lines became an outline for cutting out a shape around the contour of the drawing.

Q: Do you collect anything?
I collect a variety of objects. My rock collection began at an early age and I still have the same jar containing the rocks from when I was a child. I look at the ground often when I walk, which leads me to collecting natural objects and photographs of them with their surroundings. The strangest thing I collect is lint from when I dry my clothes in the dryer. I began doing this in the beginning of 2017 thinking about my body and what covers it. I held attachment to lint because of the various colors of fibers and the shape it makes.

Q: Who is your favorite artist and why?
Eva Hesse is my favorite artist. Her approach to Abstract Expression inspires me to not reject that label. The artwork existed in that realm while also developing into something of its own. Her persistence is an inspiration to me. I love that she explored drawing, painting and sculpture. During the last five years of her life, she produced so many incredible works of art. I have traveled to the MoMA, Seattle Art Museum, and Milwaukee Art Museum to see her artwork in person.

"Vital" by Marisa Boud

“Vital” by Marisa Boud

Q: What’s next for you?
Simply put…a road trip back to Illinois.

Q: Where else can we find you?
I can be found on Instagram @artsymars and at www.marisaboyd.com

Meet the Artist in Residence: Moira Ness

Moira Ness, artist in residence at Main Street Arts, during the month of May 2018, is working in one of our two studio spaces on our second floor. We asked Moira some questions about her work and studio practice:

Moira Ness working in her studio

Moira Ness working in her studio

Q: Tell us about your background?
I grew up in Etobicoke, Ontartio, a suburb of Toronto. I still live there! My studio, located in Walnut Studios, is in downtown Toronto. It is a nice balance of spending my days in the busy city and heading home to the quieter and greener suburbs. Aside from some sporadic courses I am entirely self taught. I briefly attended Ryerson University for Image Arts, but quickly realized the program was not for me and continued my practice on my own.

Q: How long have you been making artwork?
My first hands on artistic experience with a camera were photo assignments given to me in my early high school photo classes, so just over 10 years ago. They were mostly portraits of my friends on the school property or architecture of the school itself. I still have some of these prints/film! It wasn’t until I received my first DSLR that I really started experimenting idea wise. I started using Photoshop intensively, learning as much as I could from online forums/tutorials with A LOT of trial and error. At the time I really enjoyed superimposing people onto landscapes and was partial to very harsh contrast and filters. I almost exclusively produced work with people/models being the focus, quite different from my current landscapes.

Caledonia

“Caledonia” from Moira’s Nightscapes series

Q: How would you describe your art?
My photography explores landscapes, both urban and rural, with subtle digital manipulations. These manipulations usually simplify a landscape, removing backgrounds or covering up light sources. My goal is to make it appear like the photo is untouched, when in reality I have quietly constructed the final outcome. I consider myself to be a photo-based artist, but I have recently been experimenting with other mediums. Moving forward my works deal with more digital themes, like text algorithms and encryption software, as well as mixed media pieces with simple painting and ink.

Dark Powder

Dark Powder” from Moira’s HEX series

Q: What are your goals for this residency?
I have two series I am currently working on. The first is an expansion of the photo series “Cyclical”. Cyclical explores Friedrich Nietzsche’s doctrine of eternal recurrence/eternal return. Nietzsche believed that all events in cosmic history have repeated, and will continue to repeat, in an endless cycle.

In this series I experiment with the idea of eternal recurrence through forced visual repetition. I overlap sections of a photograph in a mirror-like style and then digitally manipulate them to blend seamlessly into the natural background. The limb of a tree is mirrored and then blended to match the opposite foliage. This is in an attempt to compress the time-based theory of eternal recurrence into a series of two-dimensional representations.

A Literal Prophecy

“A Literal Prophecy” from Moira’s series Cyclical.

I started this series last year at a different residency in Upstate NY. I knew I wanted to return to the area to explore more of the region and was very excited about Clifton Springs and the Finger Lakes area.

Her Absence Fills The Spring

“Her Absence Fills The Spring” from Moira’s Cyclical series.

My other project is tentatively named “Numeric Routes”. This work focuses on the graphic representation of raw telecommunication data, merging visualized systemic information with highlighted personal connections. Hundreds of black lines join hundreds of black numbers, forming an entanglement of visualized telecommunication data. Every area code, out of context, lies in a consecutive row of numbers. 415 comes before 416, and 417 comes after, all in circles on a wood panel.

IMG_3879

Progress shot from work on “Numerical Routes” series during Moira’s residency.

I am creating a group of nine connected 16” x 16” wood panels, with three connected rows of three. Each panel has a large outline of a circle on it. The outline is made up of consecutive numbers with 100 numbers per panel. The first panel has numbers 100-199, the second panel has numbers 200-299, etc. I want to fuse these numbers with their telecommunication meaning. For example: 647, 416, 289 are all Toronto related area codes. On each relevant panel (panels six, four and two) the numbers 647 and 416 would have a black line drawn between them. 647 and 289 would also have a line drawn connecting them, as well as 289 and 416.

I would continue to create connections between all the different area codes from 100-999 in this manner. Some area codes are not related to anything, in which case a black line would be drawn outwards and off the panels. I will reveal my own personal archive through subtle visual accentuation. I want the viewer to find their own personal connection to a number and then coax them to follow its path through the entangled lines of information.

IMG_3880

Detail shot from work on “Numerical Routes” series during Moira’s residency

Q: What is next for you?
I hope to expand my “Numeric Route” series into a whole body of work upon my return to Toronto. I will be participating in the Toronto Outdoor Art Exhibition. TOAE is Canada’s largest, longest running juried contemporary outdoor art fair. Last year at TOAE I won the Emerging Artist Award and was shortlisted for the Founding Chairman’s Award.

I have a solo show, “Nightscapes II” at Akasha Arts in Toronto in September and a show, “Darling…” in Montreal, also in September. “Darling…” merges my own algorithm generated writing with Keight Maclean’s traditional Italian portraiture. I directly write on her canvas/wood panels before or after she adorns them with her painting.

Trafalgar

Q: Tell us more about the workshop you are hosting on May 25!
I will be taking a group of participants on a walk around Clifton Springs to find some interesting night photography locations to photograph in the style of my “Nightscapes” series! I have already scouted out some cool locations and I am excited to share these with the workshop participants! I will teach them what camera settings to use, how to set up a tripod and how to edit the photos. By the end of the workshop they will be able to take and edit a beautiful night shot! I will have my camera and tripod available to use in case someone doesn’t own one or the other. I will also have my laptop available during the day to use Photoshop at my studio at Main Street Arts. You can sign up for the workshop here.

Vaughan Mills

“Vaughan Mills” from Moira’s Nightscape series.

Q: Where else can we find you?
You can visit my website: www.moiraness.com
Instagram: @moiraness
Twitter: @moiraness

Cultivate_exhibition_4

From The Director: Cultivate

I often ask myself the questions “who are we?” and “how are we perceived?”. At this moment in time, I am being especially reflective and thinking about the larger vision of Main Street Arts and how we fit into the cultural context of our region and beyond. I am also thinking of what defines the gallery and our point of view. What gives us continuity year after year?

Installation shot from CULTIVATE; Left to right: work by Jody Selin, Lanna Pejovic, and Pat Bacon

Installation shot from CULTIVATE; Left to right: work by Jody Selin, Lanna Pejovic, and Pat Bacon

Above all else, I believe it is the process of curating. The careful consideration of what happens when two seemingly disparate pieces come together in close proximity in an exhibition. I want to present art in a way that gives a new context or a different understanding — a reexamination of something commonplace or well known. More than showing any one thing specifically, I am interested in the way we look at the world and at the people, places, and things within it. How the artists that we show interpret both the human experience and the world in which we live is integral. I look forward to each year of programming at the gallery with fresh eyes and an appetite to discover something new and interesting with the hope to share that with everyone who visits Main Street Arts.

Installation shot from CULTIVATE, In foreground, work by Chad Grohman

Installation shot from CULTIVATE, In foreground, work by Chad Grohman

CULTIVATE is not only an exhibition of great work by Pat Bacon, Chad Grohman, Patrick Kana, Meredith Mallwitz, Lanna Pejovic, Jody Selin, Mike Tarantelli, and Sylvia Taylor, it is also the start of something new. With this exhibition serving as the kick off event, we are starting to represent the work of these eight gallery artists. Thinking about the launch of our new program at Main Street Arts gets me thinking about where we have been and where we plan to go; as this comes on the cusp of our five year anniversary of opening the gallery in June of 2013.

Left: Our first exhibition,"Locality" in June 2013; Right: "Cultivate" in April 2018.

Left: Our first exhibition,”Locality” in June 2013; Right: “Cultivate” in April 2018.

I have learned many things since starting this journey as a gallery director and curator. Some have been practical and others have been existential but everything has contributed to getting us where we are at the present moment.

We have always made an effort to put together exhibitions that showcase engaging work in a variety of media from across the upstate New York region. As we move forward, we will hone in on this even more by mounting solo exhibitions and small group shows from our new roster of gallery artists. I am extremely excited about being involved with a select number of artists over a long period of time. The depth that we will be able to achieve by showing an evolving body of work from a group of artists presents great possibilities.

Left: Drawing by Tricia Butski, who will be featured in the upcoming "Upstate NY Drawing Invitational" at the end of August; Right: Work by Lin Price and Carrianne Hendrickson from "Dream State", January 2018.

Left: Drawing by Tricia Butski, who will be featured in the upcoming “Upstate NY Drawing Invitational” at the end of August; Right: Work by Lin Price and Carrianne Hendrickson from “Dream State”, January 2018.

In addition to showing the work of our gallery artists, we will of course continue to have the same kind of exhibitions that people have come to know and expect from Main Street Arts. From our national juried shows to the invitational exhibitions that bring together the work of different artists from across the region. Whether the exhibitions are media specific (i.e. our upcoming Upstate New York Drawing Invitational) or centered around some kind of subject or theme (i.e. Sacred Curiosities, Dream State), we will still continue our search for new work by artists we have yet to meet.


The exhibition CULTIVATE will run through Friday,  May 18, 2018. More information about each of the eight gallery artists can be found on our website. View available work on the gallery’s Artsy page.

Inside the Artist’s Studio with Patrick Kana

For as long as I can remember, I have been drawn to the idea of making things with my hands. I started as a child in my father’s basement workshop making carefully assembled model boats and planes, and over the last 15 years continued to gravitate toward working with wood as my primary creative practice.

Patrick Kana working in his studio

Patrick Kana working in his studio

I grew up on the coastal eastern shore of Maryland as a son of two marine biologists, and these influences remain at the forefront of my experimental woodworking today. I am currently the studio technician and visiting faculty for the Art and Architecture Department at Hobart and William Smith Colleges in Geneva, NY, and have my independent business and studio: Kana Studios.

Finished texture and form exploring biological specimens.

Finished texture and form exploring biological specimens.

My work ranges in appearance and context, from fine client-based commissioned furniture to sculptural and carved objects that are grounded in my curiosity of the natural world. All of my work is experimental on some degree, by testing and exploring what certain specimens of wood can provide, how form integrates with the material, and how surface texture and color can enhance the gesture of the piece.

Development of Geneva Chair, 2012.  Mock-up before final production.

Development of Geneva Chair, 2012. Mock-up before final production.

The collection of work currently on view at Main Street Arts is more about showing the spectrum of my work rather than honing in on one central theme. The Geneva Chairs were my first long-term design and research project in 2012 that yielded a user-friendly and intriguing product for the masses, while keeping the material use and construction process efficient in my workshop. These are designed to be made in multiples, which contrasts well to the inherently one-of-a-kind carved wall vessel, Nascent, a piece that is designed and made using one specific piece of wood.

Organic development of Nascent.  Arranging free-form parts until I am drawn to a pleasing composition.

Organic development of “Nascent”, arranging free-form parts until I am drawn to a pleasing composition.

"Nascent" by Patrick Kana

“Nascent” by Patrick Kana

As my work has progressed over the last 5 years, I have found more intrigue in curves and contours of surfaces, as seen in the reed-like curves on the back of my Palea Chair, where multiple laminated slats combine to generate a contoured, gestured, and most importantly comfortable back to the chair.

Sketch developments of Palea Chair.

Sketch developments of Palea Chair.

Sketch refinement of Palea Chair.

Sketch refinement of Palea Chair.

Mock-up development of Palea Chair.

Mock-up development of Palea Chair.

"Palea Chair" by Patrick Kana

“Palea Chair” by Patrick Kana

My outlook on making is one that is central to understanding material. I want to learn the deep characteristics of wood—it is a seductive material in its natural state, tempting to simply sand and leave smooth, but I challenge myself to look at the raw material with a curiosity of what is within, or what it wants to become. I believe that through a range of working methods, we gain a more thorough understanding of medium, and in return we become stronger designers and artists.


Patrick Kana is one of eight gallery artists represented by Main Street Arts. He is featured in the exhibition CULTIVATE which runs April 7 through May 18, 2018. More information about Patrick and his work can be found on our website. View more pieces by Patrick Kana on the gallery’s Artsy page.