dipped in oil paint
I was tagged by both Harper Reed and Melissa Pierce to do this meme. At the end of this post I will tag 7 lucky people to post their own 7 random things about themselves.
First off, even though this post is about random things, there is nothing random about this list and they are not things. This list of attributes, events, situations and idiosyncrasies were methodically chosen. This meme, or viral blog thingy is like an online icebreaker, or teambuilding activity in the blogosphere. Weird, huh? If I were going to make a list of random facts about myself I’d have to make a list of every fact about myself and then pull 7 out of a hat. I just don’t have that kind of free time on my hands. So I’m going to pick 7 things that most of you do not know about me, that are odd, quirky, unique, maybe banal, things that make me seem cooler than I am and things that make me seem funnier than I am.
There, its done. Now its time for me to pass on the energy ball. Here are the next 7 people to post 7 random things about themselves on their blog.
The rules of this ‘game’ for those that I have tagged:
Th
The world looks so rational from here.
An Ames room is a distorted room that is used to create an optical illusion. Probably influenced by the writings of Hermann Helmholtz, it was invented by American ophthalmologist Adelbert Ames, Jr. in 1934, and constructed in the following year.
An Ames room is constructed so that from the front it appears to be an ordinary cubic-shaped room, with a back wall and two side walls parallel to each other and perpendicular to the horizontally level floor and ceiling. However, this is a trick of perspective and the true shape of the room is trapezoidal: the walls are slanted and the ceiling and floor are at an incline, and the right corner is much closer to the front-positioned observer than the left corner (or vice versa).
As a result of the optical illusion, a person standing in one corner appears to the observer to be a giant, while a person standing in the other corner appears to be a dwarf. The illusion is convincing enough that a person walking back and forth from the left corner to the right corner appears to grow or shrink.
Studies have shown that the illusion can be created without using walls and a ceiling; it is sufficient to create an apparent horizon (which in reality will not be horizontal) against an appropriate background, and the eye relies on the apparent relative height of an object above that horizon.
I was recently featured in a Gen Art Pulse article, where I was interviewed about my (at the time upcoming) show at Old Gold as well as compiling a list of my Chicago hotspots. I put most of my energy into writing about my work, and rushed through my 'guide to chicago'. However, it is amazing how well Meredith Chamberlain, the editor condensed my lengthy reply into one catchy short paragraph."Cole Pierce's "Piano Clockworks" is a medley of sound installation and painting, inspired and comprised of Victorian piano innards and everyday objects. And while neither project resembles or sounds like a piano, Pierce's work promises to arouse your ears, eyes, and get you lost in a state of reverie. Basically just prepare yourself for sensory overload." - Meredith Chamberlain, Gen Art Pulse, 10/27/08
And here is my response to: What is the focus of your show? What about this particular opportunity at Old Gold excites you? What draws you to found objects?
"The first time I visited Old Gold I wanted to exhibit work there. I had heard it was a weird space with wood paneled walls, something like your best friends basement when you were a kid. What I didn’t expect was to feel such a strong sense of history. There are engravings on a post that date back to 1940, and its easy to assume that its been an underground bar for decades, maybe even a speakeasy in the 30's. It is well hidden in the basement of a nondescript apartment complex. Whatever Old Gold’s specific history, what remains is a mysterious context. My previous exhibition was a video installation where the audio played a prominent role and Old Gold seemed like the perfect place for a sound installation. My practice is centered around an effort to test or locate the limits of cognition, and I want to build on Old Gold's mysterious context, enhance it with sound and paintings.
Piano Clockworks is equally as mysterious as Old Gold. Part of the show is environmental, a visceral experience of mystery. The sound installation is a formless ambient soundscape, made out of improvised piano sets, a ticking clock, faulty recording equipment, and endless experimentation with analog and digital manipulations. I printed an edition of 50 CD’s which are available for purchase. And, like any former speakeasy, Chresten Sorenson will be serving his Kitchen Ale homebrew.
My recent paintings vary from ethereal monochromes to playful text to mind boggling op art. I favor techniques that are meant for repetition like screen printing and stencils. In one series, an image of a piano hammer is repeated and layered in a haphazard pattern. The piano hammer paintings as well as the sound installation are deconstructed pianos. Neither of the two projects resemble the look or sound of a piano. Notes of this Victorian instrument have been stretched, chopped up and repeated. And part of the mechanism which creates a note, is the image that has been repeated to fill up a series of canvases. The source material has been mediated beyond recognition, and what remains is a visceral, flickering moment. My work provides two types of flickering experiences, one that is haptic and environmental, and one that is cerebral.
I am drawn to found objects because they have a direct relationship with the everyday. The experiences I create with my artwork can be found in everyday pragmatic life, and I use found objects to point this out. Sometimes found objects are the impetus for my work. However, even when it is not apparent in my work, my affinity for found objects is important to my practice. I keep collections of obsolete items like floppy discs and dead batteries in my studio that currently do nothing but provide the creative atmosphere I need. I like to keep rooted to the mundane materials, because I don’t believe that the experiences I create are transcendental, they are not epiphanies. The experience remains immanent, and the flicker is only the limit of cognition. "
I wrote that before installing the show. I don't think I knew what I was up against. It was a struggle to find a balance between the space and my paintings. I knew that the sound installation would be a good fit, that the creepy storage room and my ambient soundscape would teeter between alienating and comforting. As for the paintings, I had to ignore my metanarrative or overarching reasons for making paintings, and just respond to the rich context. My editing process shifted, so I favored paintings that were more autonomous than others and choosing a location that let the painting fit into the architecture, or achieve a harmony within the space.
You are invited to visit, this show runs until November 16th and is open on Sundays from 1 - 4, and by appointment. View photos the show in my flickr set. Video documentation of the sound installation will be up soon, and Piano Clockworks the album is now on last.fm. Promises promises.
Old Gold Exhibitions & Events 2022 North Humboldt Boulevard Chicago, Illinois 60647 South Entrance, Basement California Blue Line (towards O'Hare) Walk West on Palmer Street South on Humboldt Boulevard to 2022 Hours: Sundays, 1 - 4 pm By appointment 773.653.9956 oldgoldchicago@gmail.com Directors: Kathryn Scanlan and Caleb Lyons |
| Here I am in Time Out Chicago and Gen Art Pulse f News previewed Piano Clockworks, but I havent seen it. same with Chicago Tribune |
