TAG Interview with Darlyn Susan Yee

Darlyn Susan Yee

The Red Dress 2006 Photo by Hugh Hamilton 

Knitted Plastic, 74" h x 15" w x 12" d

Your work includes knotting and knitting, as well as crocheting. Are there other ways that you use fiber and other materials in your work? What are they? Where do you get them? Do these other techniques change your work in any way? Or, vice versa, have changes to your work resulted in exploring new materials? 

 I really enjoy placing traditional fiber methods in a new context. For my Alternative Material Series, the selection of barricade, flagging ad audio tape drives the concept of the final project. Created from string, the works in my Knotted Sculpture Series are smaller, with meticulous detail in both form and structure. In my Body Cocoon Series, I use amazing commercially produced specialty yarns with the more flexible techniques of knitting and crocheting to represent the various shapes of the human form. And in my Public Art practice, the visual impact, duration of the installation and exposure to the elements influence my material selections.

Yarn bombing has become a trend…Tell us a little about public yarn bombing? What is the motivation, the history, what issues are involved? How is it different than vandalism, than seasonal decoration? Does the yarn bombing you participate in require a permit? Do you ever worry about being sent to jail like “Revoke” or “LA II”?) 

 Yarn bombing is a temporary public art form - a non-damaging urban intervention. Most of the projects I've worked on have been in collaboration with Yarn Bombing Los Angeles. We've created installations at the Craft and Folk Art Museum and 18th Street Art Center. In response to the earthquake and tsunami in Japan, we collaborated on the Empathy Circle displayed at the Union Center for the Arts in Little Tokyo. On the closing weekend of Art in the Streets, we yarn bombed our cars outside Geffen Contemporary at MOCA to show a softer side of graffiti. And during the College Art Association Conference, we participated in Un-Space Ground by creating and dispersing pillows inscribed with Wish I Were Here in front of the Los Angeles Convention Center adding a warm texture and color to the otherwise sterile environment.

The immediate feedback while working on a yarn bombing project is so exciting. And applying the technical skills in a different way has been freeing. With any form of expression, there is a risk that others will not receive the message in the way it was intended. Response to Yarn Bombing Los Angeles projects has been favorable, and with each installation we mount comes another idea or opportunity. Some yarn bombing projects are sanctioned and involve permissions, site plans, permits, insurance, etc. Other projects and collaborations happen more organically. In both cases, we take responsibility for returning the public space to its original state.

Darlyn Susan Yee
Hot Mamma Apron 

Crocheted Plastic, 2012  64" h x 62" w x 3" d

What do your newest creations say about the human form? Are you considering making pieces so that they are wearable? (Do you flirt with the idea, but stop at that boundary…if so, why stop at that line? Is the distinction between wearable art and sculpture important to you? Why or why not?) 

Re: Fashion, my upcoming exhibition at TAG Gallery, is about fashion and attire, though these works are not intended to be worn. Using exaggerated conceptual styles, larger than human sizes, and repurposed materials I playfully challenge traditional roles of family, gender and consumerism. It has been quite fun to play with the energetic colors and textures to create these new artworks.

Girls play with fashion dolls that often have lots of bright pinks in their wardrobes. In reality, pink is a difficult color for a woman to wear and be taken seriously. With Hot Mamma Apron and Hot Mamma Mitt, I juxtapose the frivolous feminine pink with the impact of plastic fluorescent flagging tape most often used by construction workers.

In what ways does your work speak to the various cultures of Southern California? How would you like it to affect them? 

Whether showing my work in a gallery or museum, or installing it as public art, the familiar voice of fiber begins the conversation. The common thread woven through all cultures is the sense of home and place. Without regard to location, social status, culture or gender, everyone recognizes the processes because they know someone who knits sweaters at family functions, or crochets baby booties, or creates beautiful knotted necklaces. When people see my artwork in a different context, it sparks dialogue about fiber methods in the contemporary context, and at a more base level, about our upbringing, home, and comfort.

Darlyn Susan Yee Photo by Wyatt Conlon

Detail of Edyth Wyle Square Knots 

Two Knotted Knit Cord Banners 

as installed at Craft and Folk Art Museum, 2012 

48" h x 26" w x 1"d each

 Darlyn Susan Yee's exhibition opens September 4, 2012.

Interview with Carol Kleinman

Carol Kleinman Paris Rose Reflection

single exposure reflection on canvas 45 x 34 in.

What excites you about photography?

Over the past 40 years I’ve worked in many media, among them sculpture, oils, watercolors, glass, collage and construction. The type of photography I do combines a great deal of what I’ve learned from these media, particularly collage. The most exciting thing to me about the photography I do is the direct connection to reality – the presentation of a moment in time. I print on large canvases to blur the line between photography and painting.

You often travel for your subject matter. Do you see something ‘out there’ that you don’t see around the corner or at home?

Travel stimulates my awareness and creativity. I love to wander around cities like Paris, Moscow, New York, and Chicago. Sometimes I’ll walk for hours and not take any photographs. It’s like going on a treasure hunt. Then I’ll spot a reflection on a window and get captivated, drawn in to what I’m seeing. I lose all track of time as I work on finding just the right light, just the right angle and just the right moment.

In the Photoshop age, where it is so easy for artists and photographers to composite, alter, and manipulate photography, why do you stay true to single exposures? Is it important to you? If so, why?

I am a documentary photographer. My main goal is to expose and document the many layers of reality in reflections. I want to encourage people to look more closely at the world and see the richness and depth of everyday experience. My work says, "Look more deeply...notice the complexities of life...enrich yourself with the wonders that surround you at each moment." The impact of my work stems from the fact that my images actually existed at a specific time and place and are not my creations. Were I to "Photoshop" and combine images, that impact would be lost. Nothing I do is set up or manufactured. What you see in my images is what I saw. I seek out  images in world and with a single "click" of my camera offer them to the viewer.

Carol Kleinman Lost in NY Reflection

single exposure reflection on canvas  44 x 30 in.

Is scale important to you? How do you decide what size to print? Does it matter?

In my work, size does matter. I have found that large canvases make a strong statement and have a unique impact on the viewer. I tailor the size of each canvas to each image. I visualize the two working together to convey the mystery in reality in the most potent way possible.

Your images stop at the brink of abstraction. Do you feel it is important to you to keep one foot in ‘reality’

I strive to create a tension between abstraction and reality. It is critical that my canvases reflect a “reality” that actually existed at a given place and time. The illusion of abstraction is a launching pad from which the viewer can dig more deeply into that reality and hopefully find deeper meaning and emotions.

Whom do you make art for?

I make my canvases for people for whom the surface of things is not enough. As most of us visually go through life, we rarely focus the complexity of what’s around us. Our minds are too busy. Our other senses (smell, taste, touch and sound) can also distract us from seeing the depth of a visual moment in time. Through my photography, I hope to enrich people’s lives, encouraging them to see with more intention, to appreciate just how wonderful our inter-related world is.

Carol Kleinman

Carol Kleinman's exhibition begins September  4, 2012.

Gary Polonsky Interview

What are the steps involved in creating one of your pieces, what comes first, next, last? Can you share about your technique? Or is it a secret?

 It starts, really, at the end. You see something that catches your interest, a particular scene, an object, a person, or for this series, common objects, snack foods, bottles of condiments, and the like. After I have a specific object in mind, the Heinz Ketchup bottle for example, I figure out how to build the physical 3D object, which essentially becomes my canvas. Some pieces require quite a bit of engineering to figure out how to build the object so that it will last. After all the physical details are finished, the label (also acrylic on canvas) is added on to the painted object. There are no special techniques, just experimenting with different materials. The final painting whether it's the object, and or the canvas, is acrylic media.

Do you work from life, or some other point of reference?

For this series I work from the actual objects. Although I'm already pretty familiar with the foods in the series, I still photograph them in various layouts and positions to determine the final composition. Of course, the most difficult issue at this point is to resist eating the subject matter. Do you work in more than one medium? How do the two (or more) influence each other?My primary medium is acrylic paint. But my "canvases" are made up from various materials: wire mesh, balsa wood, Styrofoam, and yes, canvas too. As I experiment with the different materials, the pro's and con's of working with that material become apparent, as far as what you are trying to do for that piece. What works for one piece may not work for another, but it all contributes to a repertoire of possibilities.

Why food, why prepared food? What excites you about it, what is the attraction? Do you feel a kinship with the still life genre?

I've found, over the years, that I'm painting common, everyday objects and scenes. The current series is derived from the foods (sweets mostly, so far), that have a certain nostalgic quality. In this series the various challenges regarding the engineering, and construction of the canvas, the contrasting materials, the textures and shapes, they all contribute to the enjoyment of seeing the final piece up on the wall. I feel a "kinship" to the act of painting itself. It allows an artist the opportunity to see the world, and respond to it, in a totally unique and personal way, regardless of the subject matter.
The pieces I’ve seen are larger than life.

How is scale important?

Scale is very important in my work. The increased scale, especially of objects we know to be smaller, forces (involuntarily, of course) the viewer to re-examine what they are looking at. There is a heightened focus, a closer look at details that, on the actual object, might be ignored. And, in some cases, the details become the most exciting part of the viewing.

How often do you start a new work? What keeps you working?

I always have at least two, or three pieces that I'm working on at at time. When one piece becomes too tedious, I have another project to go to. The small print on some package labels can be very tiresome, and can take many days to paint, The multiple projects keeps me involved most of the time.

What would you like your viewers to take away from their encounter with your artwork? 

Hopefully the viewer will simply enjoy the experience. And if, in some small way we create a different way to see things, in a more focused way, and with more compassionate eyes, then maybe, as our consciousness expands to take in other views, we can make this world a better, more peaceful place for all of us.

Gary Polonsky's exhibition begins September 4, 2012.

2012 California Open Exhibition August 15th - 31, 2012

Reception and Awards Ceremony: Saturday, August 18, 2012 5-8 pm

TAG Gallery is proud to present the seventh annual California Open Juried Exhibition on August 15, 2012 through August 31, 2012. The reception and awards ceremony will be on Saturday, August 18, from 5-8pm. The nationwide competition recognizes excellence in a diverse range of styles and media and offers artists exposure at Bergamot Station Arts Center, Southern California’s largest art gallery complex and cultural center.

Interest in the California Open has been on the rise since TAG Gallery moved to its current location in Bergamot Station in 2009. 456 artists entered the juried show and 59 artworks were selected from more than 1300 entries by Juror Meg Linton, the renowned Director of Galleries and Exhibitions at the Ben Maltz Gallery and Otis College of Art and Design.

While Linton acknowledges the challenging task of winnowing the entries, she also comments that “it was encouraging to see such a strong, vibrant, and diverse range of media, styles, and expressions. I was extremely impressed with the wide array of work and the show offers a glimpse of the many talented artists working in California.” Over the last seventeen years, Linton has organized hundreds of solo and group exhibitions, published dozens of catalogs and worked with respected artists, curators and institutions. She currently serves on the Board of Directors and Program Committee for 18th Street Art Center, Santa Monica, as an Executive Board Member for the LAX Coastal Area Chamber of Commerce, and as a member of the international curators’ congress IKT.

With her selection of artworks, Linton hoped to convey “the diversity of the artists’ processes, politics, and formal and personal experiences that are both familiar and provocative. This exhibition is a celebration of their talent, their passion and their ability to express themselves in positive and stimulating ways. It is a vital sampling of the energy encouraged in this environment. these inspired and creative individuals possess the potential to shape our visual world in meaningful ways.”

TAG Gallery was established in 1993 as a not-for-profit corporation, owned by its members, who share in all business decisions, responsibilities and expenses. It is both a physical gallery and a community of approximately forty artists. TAG’s mission is to offer artists invaluable opportunities for promotional and creative growth. TAG offers extensive exhibition opportunities through the gallery and off-site venues, exposure to prominent members of the art community and inclusion on its website. TAG has been a resource for launching the careers of both emerging and mid-career artists.

Events at TAG, including frequent talks by exhibiting and visiting artists, and the annual California Open Exhibition draw ever-increasing audiences, providing TAG artists with a vital and growing market for their work.

TAG Gallery 7th Annual California Open Previews: Conclusion

We hope you've enjoyed previewing the California Open and that you'll come in person to the exhibition which opens August 15 and runs through August 31, or join us for the reception and awards ceremony on Saturday, August 18, from 5 - 8 pm.

Jill Pope Collusion

oil on paper (map) on canvas 18 x 18 in.

Jessica Grimshaw Watchman

mixed media collage 20 x 16 in.

 

TAG California Open Previews Continued

The seventh annual California Open Juried Exhibition opens on August 15, 2012 and runs through August 31, 2012.

Rachael Rendon Holding On

pencil on plastic 27 x 15 in.

David Grigsby Laguna Road

acrylic on canvas 31 x 31 in.

7th Annual TAG California Open: Sneak Peeks

Just a few more previews of images from the 7th annual California Open, juried by Meg Linton who currently serves on the Board of Directors and Program Committee for 18th Street Art Center, Santa Monica, as an Executive Board Member for the LAX Coastal Area Chamber of Commerce, and as a member of the international curators’ congress IKT.

Lynda A. N. Reyes Scavenger's Loot

oil on canvas  29 x 35 in.

Stephanie Han Large Blue Lotus

acrylic on wood panel 36 x 36 in.

Previews: TAG Gallery 7th Annual California Open

The California Open is a nationwide competition that recognizes excellence in a diverse range of styles and media and offers artists exposure at Bergamot Station Arts Center, Southern California’s largest art gallery complex and cultural center.

Xiang Gao Leaving For Heaven

Chinese ink on paper with mixed medium 28 x 28 in.

Kathryn Hansen Tug O' War

graphite pencil 3 3/4 x 10 3/4 in.

David Peterson Suzie

drawing, pigment based archival inkjet print 16.25 x 13 in.

TAG California Open Preview

The seventh annual California Open Juried Exhibition opens on August 15, 2012 and runs through August 31, 2012. Enjoy a few more preview selections below:

Katherine Rohrbacher The Travelers No. 3

oil on canvas 6 x 6 in.

Youngla Park Marburg

pencil and ball pen on paper 12 x 18 in.

Julia Diller Steel and Magnolias

oil on Belgium linen 20 x 16 in.

Sneak Peek at TAG's California Open Exhibition Continues

While acknowledging the challenging task of winnowing the entries, juror Linton comments that “it was encouraging to see such a strong, vibrant, and diverse range of media, styles, and expressions. I was extremely impressed with the wide array of work and the show offers a glimpse of the many talented artists working in California.”

Anya Dikareva Carry On, Roads

copper plate etching 25 x 30 in.

Jerry Hardin Veteran

bone 48 x 25 x 20 in.

Heather Rosenman Wonder Portal

stoneware 17 x 16 x 5 in.

Previews: TAG Gallery 7th Annual California Open

We continue looking at sneak peeks of the upcoming California Open Exhibition. Over 450 artists entered the juried show and 59 artworks were selected from more than 1300 entries.

Marissa Denise Yellow Drip

oil on canvas 48 x 36 in.

Susan Rosman Cyclamen Square

oil, acrylic, pen 30x 30 in.

Ronnie Hutton Hot Air Balloon Girls - Pink

clay, wire, glaze, acrylic 46 x 24 in.

Previews Continue for TAG's 7th Annual California Open

With her selection of artworks, juror Meg Linton hopes to convey “the diversity of the artists’ processes, politics, and formal and personal experiences that are both familiar and provocative.”

Steve David Untitled 1

tire tread 8 x 21 in.

William Solomon Can't Get Enough

neon light 14 x 36 in.

Narine Isajanyan Hidden Fears

mixed media on canvas 36 x 36 in.

Previews: TAG Gallery 7th Annual California Open

The California Open is a nationwide competition that recognizes excellence in a diverse range of styles and media and offers artists exposure at Bergamot Station Arts Center, Southern California’s largest art gallery complex and cultural center.

Boris Khechoyan Basketful 2

wood (Walnut, Birdseye, Maple) 11 x 9 in.

Stephen Spiller This is Me #1

photograph 36 x 36 in.

Liza Hennessey Botkin Kong

gelatin sislver print 23 x 30 in.

Previews: TAG Gallery 7th Annual California Open

Our sneak preview of images from the 7th annual California Open continues. Juror Meg Linton currently serves on the Board of Directors and Program Committee for 18th Street Art Center, Santa Monica, as an Executive Board Member for the LAX Coastal Area Chamber of Commerce, and as a member of the international curators’ congress IKT.

Susan Bolen Eye in the Sky

acrylic on board 27 x 21 in.

Doug Tausik Untitled

wood 32 x 20 x 20 in.

Jane Olin Sight/Site Unseen (Cuba)

darkroom developed: scanned printed on archival paper 16 x 20 in.

7th Annual TAG California Open: Sneak Peeks

Enjoy a sneak peek at a few more California Open images. Selections for this exhibition were juried by Meg Linton, who has organized hundreds of solo and group exhibitions, published dozens of catalogs and worked with respected artists, curators and institutions over the last seventeen years.

Danell Beede In Flight

photograph 25 x 36 in.

Andrea Kichaven Macho Camero

mixed media  24 x 24 in.

Codruta Tolan Passing Through the Desert of Misunderstanding

drawing on paper  24 x 18 in.

Previews: TAG Gallery 7th Annual California Open

A few more images from the upcoming California Open Exhibition. More than 450 artists entered the juried show and 59 artworks were selected from over 1300 entries by Juror MegLinton, the renowned Director of Galleries and Exhibitions at the Ben MaltzGallery and Otis College of Art and Design.

Art Venti The Underside of Up

mixed media predominately color pencil 45 x 34 in.

Barbara Kolo 2458

ink and graphite 33 x 25 in.

Sookyung Bae Distortion IV

digital photograph 30 x 30 in.