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ARTISTS IN CONVERSATION: TRACKS AND ECHOES, NIGHT 2

At 12 feet wide by 5 feet high, it’s hard to miss Carrie Ann Plank’s custom piece for Tracks and Echoes when you walk into DZINE. Titled “Liminalität/Liminality Series”, this collection is made up of 40 individual prints made of relief and intaglio on handmade cast paper. Plank works in the mediums of printmaking, painting and glass, and recently retired as the Director of the Printmaking MFA & BFA Programs at the Academy of Art University to dedicate herself to her artistry full-time. Plank pushes the boundaries of printmaking, taking the age-old tradition of this practice and combining it with modern technology to produce larger scale work including installations and variations in image development. The pieces in “Liminalität/Liminality Series” are unframed and float off the wall, showing off the lovely paper quality.

“Liminalität/Liminality Series, 2017” by Carrie Ann Plank

By the looks of Howard Hersh’s work, you’d be surprised to learn that he does not have a background in architecture. Structure serves as the main subject matter throughout his work and he uses it as a metaphor for identifying ourselves in space and time. His work plays with combining painting and sculpture; he exposes the construction of his paintings to the point that they have dimensionality and are irregular in shape. The end result is a painting that is itself an object. This merging of painting and sculpture is part of Hersh’s exploration of what he calls “no separation”, or the idea that the different mediums within his work are interconnected and play off each other in intriguing ways.

“Skin Deep 17-10, 2017” by Howard Hersh

“Skin Deep 17-3, 2017” & “Skin Deep 17-2, 2017” by Howard Hersh

Barbara Bryn Klare’s fascination with a particular shade of blue she saw in a photograph of a town in Iceland proved to be the inspiration for much of her textile work in Tracks and Echoes. So much so that she ended up participating in a residency in Iceland, one of the few textile-only residencies in the world. Klare follows the textile tradition of “boro”, a class of Japanese textiles that have been mended, repaired and patched together. It refers to utilitarian household textiles such as futon covers, kimonos and work garments produced in Japan between 1850 and 1950 that were stitched together using leftover, indigo-dyed cotton pieces. Klare expands on forms and ideas inherent in boro to create contemporary works of what she calls “modern boro” textile art. “Boro is my muse,” says Klare. “I capture the perfect imperfection of this patched look and enjoy taking a tradition of utility and turning it into an artistic practice.”

Artwork by Barbara Bryn Klare

Diane Tate DallasKidd works within different mediums to create work that is textural and dimensional. The works of art she presents for this exhibition are from different series created at different times. Her set of three linen on wooden panel pieces have painted linen thread that go through the panel for a seamless look. These works were inspired by an industrial building in San Francisco’s Dogpatch neighborhood where she saw chains hanging from its high ceilings. “It was transportive and ethereal,” describes DallasKidd. “It was a moment that was suspended and I wanted to capture it.” For our upcoming exhibition launching in May, DallasKidd is creating large-scale textile pieces inspired by water.

Coming Undone No. 14, 2017″ & “Coming Undone No. 10, 2017” by Diane Tate DallasKidd

Introspect 1 (diptych), 2017 by Diane Tate DallasKidd

Tracks and Echoes is on view at DZINE Gallery through April 2018.

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