A two-person exhibition exploring the ephemeral.
Archived on October 1 2011.
In this exhibition we bring together two extraordinary artists, Cynthia Lawson Jaramillo and Ven Voisey. Each artist uniquely explores the temporal nature of our sensory experiences and asks the viewer to reflect upon the fabric of our being.
Exhibit Dates & Times:
August 20th – October 1 2011
Admission is free and open to the public.
Open Saturdays 1 – 4 p.m. and by appointment.
Appointments can be made by phone or email.
Saturday August 20th 2011, 5:30 – 8:30 p.m.
93 Summer Street, Adams, MA 01220
Cynthia Lawson Jaramillo is a Brooklyn-based Colombian digital artist, technologist and educator. She is particularly interested in time and transience. Her artwork has been internationally exhibited and performed, including at Giacobetti Paul Gallery, Exit Art and HERE Arts (NYC), UCLA Hammer Museum (LA), Point Éphémère (Paris) and the Museums of Modern Art in Bogotá and Medellín (Colombia). She recently self-published “Of and In Cities,” an academically framed art book about five of her photographic projects, and “Cross Urban,” which documents the first two years of an ongoing collaboration with Klaus Fruchtnis. Cynthia has a B.S. in Electrical Engineering from Universidad de los Andes (Bogotá) and a Masters in Interactive Telecommunications (ITP) from New York University. She is currently Assistant Professor of Integrated Design in the School of Design Strategies at Parsons The New School for Design and an active member of Madarts, an arts collective in Brooklyn, NY.
Artist Statement: Cynthia Lawson Jaramillo
The focus of my work is the exploration of time and the everyday, with work ranging from textual interactive pieces to sculpture with embedded electronics to digital photography. I am interested in capturing and re-presenting fleeting moments, both in digital/virtual interactions as well as in physical space.
My practice intends to slow viewers’ sense of time by protagonizing the everyday as defined by transient space and make them aware of their own quotidianity. It is my hope that the viewer will reflect on their own existence, and become hyper aware of the small moments from which we now quickly disconnect: the stranger passing by carrying groceries, the voicemail awaiting to be heard, commuters rushing to catch the train.
My image-based works exist in the moment between still and moving image. I use photography as a time-based medium, pushing each image far from the expected notions of the “still” and “paused”.
Layering is a principal strategy via which I address temporal moments within each print. In “The Shops 96 Seconds”, I address the concepts of time and space in a single location. In multiple photographs, the repeated (and extracted) presence of figures in each frame demonstrate that these apparently different moments actually happened in the same place and at the same time. The chaos and complexity that one would not necessarily witness when viewing at transient public space, in which nothing seemingly happens, emerges through in the relationship between the images. Although shot in half-second intervals, viewers perceive the resulting piece through the expansion of time in transient public space.
In the case of “Beaubourg, 36 Seconds #1”, and “Snow Day #1 and #2”, photographs on transparency and duratrans are physically layered. For Beaubourg, 36 Seconds an additional layer of video is inserted into the piece. Various temporal moments are superimposed to create “still” works in constant motion – moving from one layer to the next as a space over time is described.
“Marathon” uses time manipulation in video to explore the notion of “rushing”, an assumed part of urban living.
Ven Voisey is a multi-diciplinary artist living in North Adams, Massachusetts. Born in Richmond, CA, Voisey grew up in the East Bay Area of Northern California. In 2000, he received a BA from San Francisco State University in a self-designed major combining Electronic music , Film, and Conceptual Art. In 2003, Voisey moved to North Adams, MA. Since then he has been working with a variety of arts organizations and making work in his studio. In 2010 he was Artist-in-Residence at the Berkshire Museum and received the Individual Artist grant from Local Cultural Council of Northern Berkshire.
Artist Statement: Ven Voisey
“Shhhhhh….” It’s the sound we make to hush each other in libraries and museums. It’s also the sound of wind through trees, traffic noise, the ocean, rivers, and television static. I’ve read several speculative statements in a variety of parenting publications that the playback of a uniform spectrum of a wide range of frequencies (white noise) is in ways similar to the sound of blood rushing through the veins and arteries around the womb: consequently babies often find the sound calming, and sleep-inducing. Maybe it’s just noise, but many new parents swear by it.
I started my career as an artist through the medium of sound which still anchors my work today. I’m attracted to its ephemeral nature: how it exists in the same time and space as the viewer. There is no screen to pass through, no frame to block out, and a set of properties rich with possibility.
In his book, Noise: The Political Economy of Music, Jacques Attali wrote, “In noise can be read the codes of life, the relations among men. Clamor, Melody, Dissonance, Harmony; when it is fashioned by man with specific tools, when it invades man’s time, when it becomes sound, noise is the source of purpose and power, of the dream – Music.” The crowded airwaves of our cities are a vast convoluted struggle of signal verses noise, conflicting signals, and variations thereof. Within the walls of our homes and sanctuaries, even environmental control devices we use to regulate the temperature of the air hiss and drone a thick ambience. However, noise doesn’t exist in the audible realm alone. We’ve created a new wilderness of crossed signals, chaotic sound and light.
I believe the process of creating music, and all art, is rooted in the realm of the sacred: it involves reaching into the wilderness of chaos and noise and giving it a new context or orientation through composition. In The Sacred and the Profane, historian of religion and philosopher Mircea Eliade wrote, “Any act can become a religious act. Human existence is realized simultaneously on two parallel planes, that of temporality, becoming, illusion, and that of eternity, substance, reality.” The division between these realms has increased with the prevalence of a domineering consumer culture. At this point so many “holy” acts have been claimed as commodity and sold back to ourselves, it could be argued that all that is being created is more noise.
My work uses elements provided through the production of noise, mis-communication, and artifacts of replication and dilution to playfully reclaim signals, re-configuring them into absurdly different systems in an attempt to make them once again visceral, useful and in some cases, sacred. Starting with my first installation “flutter” which incorporated a daily performance of a violinist playing single-note requiem tuned to the amplified hum of the space’s fluorescent lighting, to my recent work, “A Sign for the Sound of Everything at Once,” a large electric sign with the letters “shh…” that rapidly shimmer and flash when an observer approaches, my aim remains to re-purpose artifacts as instruments to reorient the viewer; to pull them from the realm of “noise” into that of “composition” and attentive experience.