Artist in Residence
Artist Statement
Calder Yates
Artist Website
I love a good tape measure. I obsess over organizational flow charts, phone directories, diagrams, and maps. It must be from my background in political science. I'll pore over these charts looking for others and myself - ourselves among others - everything in its place - justification in the world. I have a desire for action: movement and gesture over stability and inertia. I love lo-fi, slipshod processes. I avoid refinement. My work is temporary.
On the one hand, I try to make monumental attempts at interaction. Here, line and repetition are important. I want to draw physical lines linking together locations or use line to connect disparate identities. I look for lines that might induce interaction between viewers or trip lines that might cut them off at the knees. I like the idea of a tightrope that viewers unwittingly walk over, some kind of path that implicates the viewer within a larger social structure.
On the other hand, I work in themes of insignificance. Line is still important, but here I want the lines to be pointless and impermanent. I've worked in art therapy programs with the disabled and those near death. I'm close to those with dementia and their caregivers. I want to make some visceral connection to the physical qualities of bodies and create a sense of brevity and impermanence. Like a tightrope walk, the connections are tenuous and the walk is precarious. Missteps are weighted with consequence. So I want the processes of creation to be obvious and for my objects to perish and for my viewers to mouth, What's the point? - What is the point? Lines with ending points.
I love a good tape measure. I obsess over organizational flow charts, phone directories, diagrams, and maps. It must be from my background in political science. I'll pore over these charts looking for others and myself - ourselves among others - everything in its place - justification in the world. I have a desire for action: movement and gesture over stability and inertia. I love lo-fi, slipshod processes. I avoid refinement. My work is temporary.
On the one hand, I try to make monumental attempts at interaction. Here, line and repetition are important. I want to draw physical lines linking together locations or use line to connect disparate identities. I look for lines that might induce interaction between viewers or trip lines that might cut them off at the knees. I like the idea of a tightrope that viewers unwittingly walk over, some kind of path that implicates the viewer within a larger social structure.
On the other hand, I work in themes of insignificance. Line is still important, but here I want the lines to be pointless and impermanent. I've worked in art therapy programs with the disabled and those near death. I'm close to those with dementia and their caregivers. I want to make some visceral connection to the physical qualities of bodies and create a sense of brevity and impermanence. Like a tightrope walk, the connections are tenuous and the walk is precarious. Missteps are weighted with consequence. So I want the processes of creation to be obvious and for my objects to perish and for my viewers to mouth, What's the point? - What is the point? Lines with ending points.
- Residency Period: March 2012 - September 2012
- Art Show: Friday, September 21, 2012 & Saturday, September 22, 2012