Liminal Geometry

This gallery contains several 3-dimensional projects which explore the geometries of Islamic, Christian, and Judaic architectural sites.

 

Theotokos Kyriotissa Church/Kalenderhane Mosque – Homage, 2017, Watercolor, gouache, collage on paper and balsawood, 9 x 12 x 10 inches

GALLERY VIEW: with Rub el Hizb (Arabic: eight pointed star – from two overlapping squares) on the wall and Interior Castle, in the foreground, 2017

 

Octagonal Meditations, 2018

And the angels will be on its sides, and eight will, that Day, bear the Throne of thy Lord above them.

– Quran 69:17

And after eight days again his disciples were within, and Thomas with them: then came Jesus, the doors being shut, and stood in the midst, and said, “Peace be unto you.”  

– John 20:26

Eight is numerically significant in the stories, history, art, and architecture of Islam and Christianity. According to the Muslim tradition, eight angels bear the throne of God and the Prophet Muhammad revealed that there are eight gates to heaven. In Christianity there are eight beatitudes, the risen Christ appears to his disciples on the eighth day, and he appears a total of eight times after his resurrection. Both traditions offer multiple examples of the use of eight and share grounding in the Judaic use of eight found in the old testament and Torah, wherein Noah had eight with him on the arc, and the feast of the Tabernacle occurred on the eight day.

Eight is centrally important to living sights of both Islamic and Christian worship in Istanbul, Turkey, where I travelled with the support of a research grant from Ohio University. Istanbul’s architecture in particular demonstrates the adaptation of Christian architectural forms into Islam as it initially spread throughout the region (most notably seen in Hagia Sophia). As I visited, the use of the octagon was a source of inspiration…mediation—found in complex architectural forms, infinite patterning in carved wood, stone, ceramics, textiles, and illuminated manuscripts. It is a testament to the power of geometry, particularly in the case of these two great living Faiths, where it not only generates mesmerizing forms, but where it also symbolically expresses deeper theological meanings for the faithful.

 Eight is figuratively central to the work presented in this exhibition, which draws from the architectural spaces, decorative arts, and illuminated manuscripts of both Faith traditions. My work is not meant as a commentary, but is intended as thoughtful and playful meditations which reverence these great religious histories and living traditions.


The sample of work included on this page were part of an invited solo exhibition at the Contemporary Art Center of Peoria, IL, 2017, and a juried group show at the ROY G BIV Gallery in partnership with Columbus Metropolitan Library’s Carnegie Gallery, Columbus, OH, 2017.

 

Contemporary Art Center, Peoria, Illinois, 2017

DETAIL: Architectural Residue(s): Romanesque, 2014, Mixed media: ink, watercolor, gouache on paper and balsa, 7 x 43 inches

 

Architectural Residue(s): Romanesque, 2014

By residue I mean the afterimages, memories, senses of space, forms light, etc. ...that remain upon the departure of significant space(s), and which participate in the construction of  internal memory space, or an oneiric reality integrated into the psyche.

This work responds to Romanesque structures in and around the city of Toulouse, France.

Romanesque structures are heavy masonry buildings which seem to bend and move in their groin  vaulted ceilings and arches. The interiors are dark,  forest--like cavities, lined with rows of columns and  dramatically lite by small windows. The light activates  the stone surfaces creating rich, subtle banding and  texture.

These qualities come together in a series of drawings  suspended on balsa wood structures. Unlike the grand  scale of the buildings that evoked them, these works are  small and delicate--contrasting the ontological with a  new, interior psychic space.


This work was first included at a Faculty Exhibition at the Kennedy Museum of Art, Athens, Ohio, and later acquired by Price Waterhouse, Columbus, Ohio.

DETAIL: Architectural Residue(s): Cathedral, 2012, Black clay with glaze, 3 pieces: each approximately 6 x 6 x 8 inches

 

Artist in Residency, Vallauris, France, 2012

Before arriving at AIR Vallauris, I traveled to see Romanesque, Medieval and Early Gothic structures in Toulouse, Albi, Conques, Nimes and Avignon. Upon arriving in Vallauris, I was inspired by the rich ceramic history of the region. This history and the facilities of AIR Vallauris allowed me to expand my practice. I was able to explore the materials of porcelain, ceramics and glazes for the first time.

The work presented in the gallery abstracts from impressions of Romanesque architecture. Romanesque structures are heavy masonry buildings which seem to bend and move in their groin vaulted ceilings and arches. The interiors are dark, forest-like cavities, lined with rows of columns and dramatically lite by small windows. The light activates the stone surfaces creating rich, subtle banding and texture. These qualities: solidity--movement, mass--cavity, inside--outside, light--shadow and textures--patterns have come together in a series of intimate structures and surfaces. Unlike the grand scale of the buildings that inspired them, these works are intentionally small. They are meant as personal objects that you can take away from an experience like travel. They are intersections of France’s architectural past with the historic materials and place of Vallauris in a contemporary memoir. They mark my journey through the rich terrain of Southern France and Vallauris.


This work was included in a solo exhibition at Galerie Aqui Siam Ben, Vallauris, France, 2012

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