Essays:An Essay in the Art of Formation
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| - | Native to California, '''Jonathan Farrell''' describes himself as a writer and an aspiring artist. With a Bachelor of Arts degree in Philosophy, he followed the path of the social services field. While working in social work he decided to follow his heart's desire and began writing. | + | Daniel Y. Harris is a poet, visual artist and essayist who lives in Oakland California and teaches courses in Jewish mysticism and kabbalah through Lehrhaus Judaica. He is Director of Communications for MesArt, and has been Board Secretary and Co-Curator of Art for Artship Foundation. He was born in Paris, France, and came to the United States with his family at the age of ten. Daniel holds a Master of Arts in Divinity from the University of Chicago, and wrote his dissertation in the studies of medieval and contemporary Kabbalistic thought. Daniel has exhibited his sculptural work in galleries and museums in Chicago, Minneapolis, San Francisco and Oakland, and more recently at The Euphrat Museum in Cupertino CA. He is currently working on a manuscript for a first book of poetry entitled The Arrival, and a book on the life of Medieval Kabbalist Moses de Leon, includes The Denver Quarterly, Panoply & PoetryMagazine.Com among his publication credits. He is also assisting in Coordinating reading events for Poets for Peace and is judge for its Peace Sculpture Competition 2002. |
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| - | Once he accepted this new path then the journey toward art began. No sooner did he leave his job in social work when an opportunity to write for a neighborhood newspaper appear. While taking various part-time jobs, For almost ten years, Jonathan has been writing for various neighborhood publications among them are the ''Sunset Beacon & Richmond Review.'' And during that time he has pursued other creative interests such as: journalism, acting, collage, photography and cooking. | + | |
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| - | Finding the city of San Francisco to be "a place where the world is," Jonathan is continually inspired by the city's life and vitality. He hopes to be a truly cosmopolitan individual as he says, ''"To be a citizen of the world is a wonderful privilege and no better place to learn and grow in that sense of citizenship than in San Francisco."'' | + | |
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| - | That which is universal and timeless is what artist Georgianna Krieger strives to accomplish in her sculpture. | ||
| - | Inspired by the ancients such as the Greeks, Krieger is not shy to say what's missing in the 21st Century, "it's anything but timeless, it's all about time and speed," she said. | ||
| - | The opportunity to visit her studio that sits behind a charming Edwardian style cottage in San Francisco's Richmond District was a rare glimpse into the life of an artist at work. | + | The painter Mark Rothko once declared to Seldom Rodman for his book, Conversations with Artists, (New York, 1957) that "the people who weep before my pictures are having the same religious experience I had when I painted them." By metaleptic reversal, the same can be said about the formational art of Carre Harris, whose painting ''Vessels, Pots & Jars'' (Acrylic and Graphite, 2002, 32 x 54) invokes the elegant and sublime movement of a primal scene of invention that is simultaneously cosmologic and quotidian. We gaze at the catastrophe of an imploding universe and the dark interior void of daily containers. Space is not an exegetical principal. It is an amalgam of reds, plums, turquoises, vivid blues and metallic coppers contained in and around six inexact circles, or spheres, roughing the periphery of the environment they are about to create. The formative is the essence: the resonant spaces and auric splendor of contour upon which we gaze and meditate and submit to an array of emotions for which tears are a pleasant release. |
| - | Krieger's home life is shared with her husband Michael and their baby boy Philo. Together they support each other in their new responsibility as parents. While Michael, a composer of music watches little Philo, Krieger is able to step through the wildflowers in the backyard to a shed she has converted into an extension of her studio. | + | Unlike one of Carre Harris's favorite painters Mark Rothko, doom doesn't dovetail ecstasy. The burden of an abandoned spatial loneliness doesn't invoke the dread of invention. We are neither ghostly nor abandoned within the confines of broken relations or flattered by the embellished void of a post-consumer society without meaning. This is neither apocalyptic nor nihilistic art informed by the ever-present trends of casual disinterest. The spiritual integrity of this painting is without question and as Carre Harris says with the confident humility of an artist at the height of her powers, "Things move in and out of space. They move apart. They influence one another. Chaos and the beautiful come together and split apart and come together again." We hear the voice of experience. It is neither self-deprecating nor damned with faint praise. Grand philosophical and artistic gestures are replaced with the calming norms of graceful colloquia. For it is the daily life that we see in these painterly spheres: daily life seen through an eye that sees into the heart of things and sees how we behave. Carre Harris sees as if she had spent several days of her life with other people's eyes, as if she had been able to remove her own eyes like contact lenses and then, when enough of an other's experience was seen, could put her own eyes back in. |
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| - | Apart from a few innovations/conveniences such as, silicon rubber moulds Krieger says, "I use traditional methods. I sculpt the same way the ancients did." The process of it is the same. | + | |
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| - | (At the beginning of a) work with a small scale that is 1/6 to 1/3 of life scale (size) "I think of most of my sculptures as studies for a life-size or monumental scale work," Krieger said. | + | |
| - | There are dozens of works in process, all in various stages. Krieger explains, "When I studied sculpture, I chose the traditional figure as my path (of study) because I feel the human figures speaks to all people of any culture or time period." | + | Detail #3 of Vessels, Pots & Jugs |
| + | Acrylic Painting by Carre Harris. | ||
| + | Detail #4 of Vessels, Pots & Jugs | ||
| + | Acrylic Painting by Carre Harris. | ||
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| - | She continued, "I took time to study anatomy and the Greek system of (poise and) proportions." This is found in the archaic examples left to us by the Greeks, known as the "Kouros" figures. | + | |
| - | + | What do these evocative spheres contain? In the artists own words, "These six spheres are aligned by color. The orange one is a water-jug. The spilled water forms rings. The red one has an object in the middle that could either be a feather, a hand, a heart, a lady's pin, or all these things... a suggestion of these things. Another one is both organic and synthetic: a stem, a bulb, a giant flower and also electrical lines or fiber optic lines. One is a veiled woman. One is coiling like a snake. They are worlds forming." Which ever of these visual correlatives the viewer chooses to take, if any, suggestiveness is replete and the potential is nothing less than life giving. | |
| - | Emerging around the year 600, BC [http://en.wikipedia.org/wiki/Kouros the Kouros] is the ideal form of human beauty and strength. This ideal form was usually expressed through a youthful male figure. Some scholars hypothesize that the "youthful athlete" represented neither gods nor men but something in between - the hero. | + | |
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| - | [http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=12908 Scholars] also believe that this style was the prototype for the further development of Greek sculpture, and was most likely borrowed from the Egyptians. The similarities in various samples between Greek and Egyptian works are striking. | + | |
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| - | [[image:Seeking the Timeless- About Georgianna Krieger.1.1.jpg]] | + | |
| - | [[image:Seeking the Timeless- About Georgianna Krieger.1.2.jpg]] | + | |
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| - | Yet the use and philosophies behind the sculpture of the two cultures are different. For Egypt as example, the sculptures were used for definite religious beliefs (surrounding the 'ka' or personality of soul of the deceased). This type of 'mystical' element in their sculpted helped with the idea of an afterlife. | + | |
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| - | Allusions to a realm of the 'metaphysical' might be obvious, but for the Greeks such notions of an afterlife were obscure and not afforded to everyone. The Kouros as naked male hero was a model for perfection. This was a tribute to beauty and strength. Unfortunately the esteem for this concept of perfection was not fully extended to females. | + | |
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| - | Taken directly from the stance of the 'kouros' Krieger adapts the ideal just the same, as she points to her sculpture entitled, "Strength." "I think my work has some of the classical qualities but it is very much of this era. Being that "the reference is intended to say something about the world today." | + | |
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| - | [[image:Seeking the Timeless- About Georgianna Krieger.2.1.jpg]] | + | |
| - | [[image:Seeking the Timeless- About Georgianna Krieger.2.2.jpg]] | + | |
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| - | Krieger's figures are naked as in the classical sense, but in the case of this piece (Strength) she says, "I tried to say something about the strength needed by women every day in the contemporary world." | + | |
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| - | Bringing that classical ideal of strength and beauty into the present day world, Krieger clothed the figure of woman for this piece "in jeans and t-shirt." Krieger upholds the idea that there is a "fourth dimension" which is the 'metaphysical.' | + | |
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| - | As she said, "Because we are ever moving, motion is inherent in the nature of our experiences. The human experience is shaped not only by our physicality but also by our intellectual capacity for memory and abstract thought." (This is what makes such pieces metaphysical). | + | |
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| - | It was through Krieger's work with clay animation that as she said, "gave me an opportunity to do motion studies through time lapse photography. This is how I got to thinking about the fourth dimension." Not to say that all her pieces have to do with motion for as she noted, "some are still figures." "Those are about experiences when the world goes whipping past you as you think, feel or do something," Krieger said. | + | |
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| - | "I am thinking about geometry and formal composition when I approach a figure." Yet she clarified, "my figures (sculpted) take a form from life but they are not so realistic as they are idealistic," Krieger said. | + | |
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| - | After her formal study in art school Krieger spend several years working in commercial art fields making designs. As she explained, "I wondered how my art would fit into the modern world." | + | |
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| - | Not abandoning her admiration of traditional sculpture as she worked in commercial art, Krieger perceived/understood something significant. | + | |
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| - | Doing design work and making art can be related but are distinctly different from each other. Krieger explained, "I keep the two separate. I think most people don't understand that the skills involved in vigorous art making are transferable to other endeavors like designing and inventing." | + | |
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| - | This is why she seldom speaks of her artwork to the circle of acquaintances she knows in her design work. And consequently, "I seldom talk about my design work when talking about sculpture." | + | |
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| - | Yet it seems Krieger is most enthralled by sculpture. When she spoke about her experiences with sculpture her expressions and conversation glowed with an enthusiasm. (As if the Muses were at her side.) | + | |
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| - | Drawn to sculpture from the beginning, her teacher at the University of the Arts in Philadelphia, Walter Erlebacher was "very inspirational," said Krieger. | + | |
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| - | It was his teaching that set the path of sculpture at Krieger's feet. Along with studying the ancients, she admired the great ones like Michelangelo and Bernini. Krieger found Manuel Neri's work inspiring because of "his use of color on figurative sculpture." | + | |
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| - | She too uses color in her sculpture "not so much for realism but (that) it has to do with the emotions and the content of the piece," she said. And as Krieger noted, "the Greeks painted their sculptures." | + | |
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| - | She took a trip to Italy and the time she spent to observe the old world craftsmen was amazing as they "worked with the marble like it was butter." | + | |
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| - | Krieger understands that art is something to share and she praised the support of the artistic community through venues such as the Sunset Artists Society founded in 1999. The weekend of May 31 to June 1, 2003, the Sunset Artists Society is sponsoring a local event at the Hall of Flowers (at 9th Ave. & Lincoln Way) in Golden Gate Park. Krieger will have her work on display. | + | |
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| - | Krieger is also eagerly preparing for the annual "Open Studios" exhibit/neighborhood art shows sponsored by ArtSpan. A unique San Francisco institution that began literally in an artist's home not too many years ago, the event is a series of mini art shows featured at the home of participating artists over a period of consecutive weekends during the fall season. Krieger said, "This year my neighborhood (The Richmond District) will be the first on the list - weekend #1." | + | |
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| - | (Incidentally for those of you who don't know San Francisco very well, Fall is when San Francisco has it's summer - Sept. thru early Nov.) | + | |
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| - | (Incidentally for those of you who don't know San Francisco very well, Fall is when San Francisco weather is at it's best! September thru early November is the city's real summer). | + | |
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| - | For Krieger's future endeavors she simply says, "I would be honored to have the opportunity to do large pieces for public spaces." | + | |
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| - | Georgianna Krieger will also be teaching workshops on Figure Drawing and Introduction to Mould Making at Fogbelt Studio in SF's Sunset District. For more information about it visit [http://www.fogbeltstudio.com http://www.fogbeltstudio.com]. And for more information about Krieger and her work visit [http://www.shesculpts.com www.shesculpts.com]. | + | |
| + | As with any procreative act, Carre Harris had widely photographed ''Vessels, Pots & Jugs'' and produced an arsenal of photographs which she is arranging as collage and photomontage like a choreographer. One may even suggest that ''Vessels, Pots & Jugs'' is the mothership, the great primeval Gaia, the archetypal womb from which Carre Harris will people a new imaginative world with her new/old creatures. One is also tempted to attribute to this painting Kabbalistic and Gnostic qualities, and one would not be incorrect but rather a bit too mimetic. This painting is more about the future than it is about the apt mysterious scenarios of the past. Carre Harris is rather more a happy futurist endowed with a classical sensibility than a re-inventor of suggestive prior scenarios. | ||
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| - | '''Georgianna Krieger,'''<br> | + | '''Carre Harris is an artist and photographer.''' |
| - | sculptor | + | |
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| - | San Francisco sculptor Georgianna Krieger received her BFA in sculpture from the University of the Arts in Philadelphia where she studied with Harvey Citron and Walter Erlebacher and was the 1990 recipient of The Philadelphia Plastic Arts Society Award. Her life in the arts began at home with her mother, artist Anna Krieger and continued at the Arts Magnet High School in Dallas, Texas where she studied art and music. | + | |
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| - | Over the years Ms. Krieger has worn many creative hats including commercial artist and designer, while continuing to work privately on her sculpture. Her work has included clay animation, murals, museum exhibit design, toy design as well as fine art. Believing that art is achieved through years of contemplative study and practice, she has worked to create a meaningful body of work. | + | |
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| - | In late 2001 she premiered to the public a series of limited edition sculptures entitled ''Time And Space.'' Her figurative yet contemporary sculptures in bronze and other cast materials, are accompanied by a series of gesture drawings. | + | |
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| - | Ms. Krieger lives in San Francisco's Richmond District with her husband, composer Michael Kaulkin and son Philo. She is available for commissions and her studio is open to the public in October as part of San Francisco's Open Studios. View some of her work at: [http://www.shesculpts.com www.shesculpts.com]. | + | |
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Revision as of 07:36, 10 April 2006
by Jonathan Farrell
|
| Daniel Y. Harris is a poet, visual artist and essayist who lives in Oakland California and teaches courses in Jewish mysticism and kabbalah through Lehrhaus Judaica. He is Director of Communications for MesArt, and has been Board Secretary and Co-Curator of Art for Artship Foundation. He was born in Paris, France, and came to the United States with his family at the age of ten. Daniel holds a Master of Arts in Divinity from the University of Chicago, and wrote his dissertation in the studies of medieval and contemporary Kabbalistic thought. Daniel has exhibited his sculptural work in galleries and museums in Chicago, Minneapolis, San Francisco and Oakland, and more recently at The Euphrat Museum in Cupertino CA. He is currently working on a manuscript for a first book of poetry entitled The Arrival, and a book on the life of Medieval Kabbalist Moses de Leon, includes The Denver Quarterly, Panoply & PoetryMagazine.Com among his publication credits. He is also assisting in Coordinating reading events for Poets for Peace and is judge for its Peace Sculpture Competition 2002. |
The painter Mark Rothko once declared to Seldom Rodman for his book, Conversations with Artists, (New York, 1957) that "the people who weep before my pictures are having the same religious experience I had when I painted them." By metaleptic reversal, the same can be said about the formational art of Carre Harris, whose painting Vessels, Pots & Jars (Acrylic and Graphite, 2002, 32 x 54) invokes the elegant and sublime movement of a primal scene of invention that is simultaneously cosmologic and quotidian. We gaze at the catastrophe of an imploding universe and the dark interior void of daily containers. Space is not an exegetical principal. It is an amalgam of reds, plums, turquoises, vivid blues and metallic coppers contained in and around six inexact circles, or spheres, roughing the periphery of the environment they are about to create. The formative is the essence: the resonant spaces and auric splendor of contour upon which we gaze and meditate and submit to an array of emotions for which tears are a pleasant release.
Unlike one of Carre Harris's favorite painters Mark Rothko, doom doesn't dovetail ecstasy. The burden of an abandoned spatial loneliness doesn't invoke the dread of invention. We are neither ghostly nor abandoned within the confines of broken relations or flattered by the embellished void of a post-consumer society without meaning. This is neither apocalyptic nor nihilistic art informed by the ever-present trends of casual disinterest. The spiritual integrity of this painting is without question and as Carre Harris says with the confident humility of an artist at the height of her powers, "Things move in and out of space. They move apart. They influence one another. Chaos and the beautiful come together and split apart and come together again." We hear the voice of experience. It is neither self-deprecating nor damned with faint praise. Grand philosophical and artistic gestures are replaced with the calming norms of graceful colloquia. For it is the daily life that we see in these painterly spheres: daily life seen through an eye that sees into the heart of things and sees how we behave. Carre Harris sees as if she had spent several days of her life with other people's eyes, as if she had been able to remove her own eyes like contact lenses and then, when enough of an other's experience was seen, could put her own eyes back in.
Detail #3 of Vessels, Pots & Jugs Acrylic Painting by Carre Harris. Detail #4 of Vessels, Pots & Jugs Acrylic Painting by Carre Harris.
What do these evocative spheres contain? In the artists own words, "These six spheres are aligned by color. The orange one is a water-jug. The spilled water forms rings. The red one has an object in the middle that could either be a feather, a hand, a heart, a lady's pin, or all these things... a suggestion of these things. Another one is both organic and synthetic: a stem, a bulb, a giant flower and also electrical lines or fiber optic lines. One is a veiled woman. One is coiling like a snake. They are worlds forming." Which ever of these visual correlatives the viewer chooses to take, if any, suggestiveness is replete and the potential is nothing less than life giving.
As with any procreative act, Carre Harris had widely photographed Vessels, Pots & Jugs and produced an arsenal of photographs which she is arranging as collage and photomontage like a choreographer. One may even suggest that Vessels, Pots & Jugs is the mothership, the great primeval Gaia, the archetypal womb from which Carre Harris will people a new imaginative world with her new/old creatures. One is also tempted to attribute to this painting Kabbalistic and Gnostic qualities, and one would not be incorrect but rather a bit too mimetic. This painting is more about the future than it is about the apt mysterious scenarios of the past. Carre Harris is rather more a happy futurist endowed with a classical sensibility than a re-inventor of suggestive prior scenarios.
Carre Harris is an artist and photographer.
