Weaving Structure, Finding Form – Lighthouses
Residency Time: 17 – 27 December, 2014
Construct a sculptural work responding to the forms and patterns of the mountains of Hòa Bình province and the Mường People. My current work investigates the formal interactions of patterns on sculptural surfaces and their narrative / historical origins (see Image 08). During my residency at Mường studio, my partner and I will document with drawings, sound, and image the rich Mường weaving tradition, while researching the narratives and symbols imbedded in Mường textiles. The repetition inherent to the weaving process will further find an equivalent with the repetitive stacking inherent in my sculptural process. The documentation portion of the residency will be carried out in collaboration with Hanoi based writer / photographer Hoang Minh Thuy (Collaborator). During the time of the residency, we will also be scouting sites for another iteration of the ongoing series Lighthouses. Previous sites include rural Missouri, USA and Dong Nai province, Vietnam (see Images 04 – 08).
I propose an intensive 10 day residency for conducting research and sculptural work. December 17, 2014 – December 27, 2014.
Wooden units fabricated prior to the residency, and Lights for permanent installation. Light woodworking equipment may be necessary: Sanding implements, sawing implements – These can be provided by the artist, depending on availability.
Through field research conducted in the form of sound, drawings and photography, we will find an appropriate motif to conceptually ‘weave’ the existing sculptural system with the local colors and history found in the Mường textile tradition. The structure will echo forms found in the mountains. The surface will quote patterns found in the life of the mountain’s inhabitants / stewards. Technically speaking, the blocks will be individually stacked and glued, then fixed in place with a polymer suitable for outdoor conditions. The form will be sanded and painted. Finally, lights will be installed inside of the work to illuminate the sculpture during dark hours – effectively making two sculptures: a painted structure by day and light installation by night (see Images 01, 03).
The process of stacking blocks is a meditation requiring little assistance, thus the labor support necessary will be in assisting the research process. We will need support and direction to find local weavers. Part of the project is to find home-‐looms and document the weavers in the domestic setting, to either support or debunk the theory that the local weaving tradition is giving way to the use of Chinese imports.
The residency at Mường Studio is an opportunity for dialogue with the history and culture of the Mường people, and Vietnam in general –a country that continues to enrich my art practice since my first visit in 2013. I aim to foster the conditions of discovery that grow out of insecure situations, crossing the immense gap between cultures and artistic contexts yielding new forms and new ways of seeing. Furthermore, I hope to support the Mường Studio’s mission as an independent space for contemporary art in Vietnam.