Some of you may remember the call to artists I mentioned in December. Since then my print has been completed, shipped, sparred for flight by kitemaker Scott Skinner, and sent onto to Japan.

Despite all the terrible tragedy that visited Japan at the beginning of the year, some things resolutely stayed on course; in March, the print show opened in Kyoto at the 6th Kyoto International Washi Association Exhibition and in the beginning of June showed again at the 1st International Mokuhanga Conference in Kyoto. My print joins a group of other print and kitemakers' work as well as some innovative larger kitework by Yoshizumi Nobuhiko (who also makes very small kites, some only a few mm in size) and Scott Skinner's own work. The show will travel a bit more this year before retiring.

It's a bit of a thrill for me to know my work has traveled a world away and has a long journey ahead of it before finding a new home.

Erin Curry Kiteline
Kiteline (in process)
13" diameter
woodblock print on mulberry paper

Though I've explored the image of a tangle for a long while, it resonants particularly well for a kite as anyone who has noted a pile of line at a flier's feet. When in the sky, this kite reflects what is on the ground, mediated by a thread and the hand holding the the line between them.

The composition for the print was created by sketching with ready-made cotton line dropped from above as it might be in flying a kite and recording my favorites until I settled on one to make. Tempting as it was to use handspun for my sketches as I do with Specimens, I refrained, as it seemed most appropriate to use line that the kite would fly on to maintain gestural symmetry. 

This above/below symmetry mediated by the hand shows up in my Spindle drawings too, albeit less visibly in the completed works. During creation of the drawings, I draw the image from above the prepared paper which lays horizontally. The roving of wool is tamed into a line by hand and the spindle holding a piece of graphite below it draws a roving line into chaotic masses.

My to-do list includes sparring and bridling one of the extra prints of Kiteline and flying it myself soon. In the proper circumstances the sun will illuminate the kite from behind, and the tangle will glow through paper left bare of ink.

For now here's a few images from the printing of:

This printing ink smells divinely of burnt linseed oil.

 When counterspace ran out, the oven became a drying rack.

Further Reading:
Scott Skinner reflects on process, the exhibit, and presents more of the submitted prints in Kitelife magazine here.


next wave and delighted

Though my blog has lain largely fallow, my art practice continues to grow.

Recently, my Spindle Drawings were selected for an exhibit in South Florida at the Lighthouse ArtCenter Museum for Next Wave: Young Contemporary Artists which consists of Floridian artists under the age of 35. The opening reception was held Friday and it will remain up through September 1st with a few more events associated with it between now and then, so if you find yourself in the West Palm Beach area in the meantime, please visit the museum to see the show.

I'd also like to mention Traces of Spun II received Best in Show. I'm honored and pleased.

Erin Curry Art, Traces of Spun 2, drawing, graphite on paper
  Traces of Spun II 
graphite on paper  
22" x 30"
(made with handspindle)

Within the gallery space, my drawings were paired with a few ceramic pieces by Ronald J. Shaw whose work is featured on the bottom right of the show's flyer. His process involves creating marks on stoneware by dropping horsehair on the pots during firing which ignites and carbonizes on the surface. Our works complemented one another quite well as both of our processes in creating linework require relinquishing a certain amount of control while maintaining restraint.

Of the twenty five artists represented, a few of the works that stood out to me particularly: Nathan Selikoff's generative digital works which transcend the sometimes harsh surfaces of digital art to reveal something more ephemeral as if recording flashes of natural phenomena, Sarah Nastri's delicate collages of transferred trees on surface embossed with snatches of lace, Rachel Rossin's mythical oil paintings depicting tropical esoteric mythologies (see her painting on the top of the flyer), and Micheal Bauman's sculptures, my favorite of which is Remembrance which is a glass topped box holding a grid formation and ammonia crystals grown within.

The event was also the first time I'd seen Kalina Winska's paintings for the show in person. Kalina and I met just over a year ago, and I've enjoyed seeing her work develop as she's veered through drawing, sculptures and back to her original medium, painting. I am looking forward to seeing more of what these swirling worlds hold.

Kalina and I also have a special project in the works that we'll share soon.

Here's my favorite of the Kalina's work in the show:

Kalina Winska This Far and No Farther oil on canvas
Kalina Winska
This Far and No Farther
oil on canvas
26" x 26"


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