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(wow) Words Of Wonders Level 2307 Answers – Mariel Capanna and Stella Zhong talk about their solo exhibitions at Adams and Ollman from July 9 to August 27, 2022.
Stella Zhong: In my sculptures, I created spaces inhabited by completely fictional secret worlds. These areas are either at the bottom, back of the figure, or at the very top of normal height, so crouching or jumping gives you some insight into these worlds, but sometimes not at all.
(wow) Words Of Wonders Level 2307 Answers
Recently I was asked what I would call these “worlds/things” below/above my structures, and I realized that I never had a name for them. Even to say that they are between places, words, objects, numbers or beings would be incorrect. I make individual elements (clay balls, small clay cubes, etc.) that make up the huge landscape of my sculptures, like buttons or nails. Then, when they start working, their roles and relationships become extremely precise. This accuracy is measured by something I cannot pinpoint. I stop working with them when I feel like I’ve become an outsider, a visitor trying to decipher information and history from them.
In Conversation: Mariel Capanna And Stella Zhong
His paintings often come to mind when I look at the surrounding rooftops, filled with seemingly unrelated objects, half visible or half submerged. I’m always looking for what looks wrong – that’s what I do when I look at your pictures! And in your later works there is not enough earth, but there is gravity. I feel it is related to this. I try to apply this feeling in my work. Sometimes the wire will be the heaviest of all things. What do you call groups of subjects in your pictures?
Mariel Capanna: I welcome this call to name a cluster! A few months ago, in a used bookstore in Doylestown, Pennsylvania, my husband came across James Lipton’s “Rise of the Lark,” a collection of “terms of respect” that included “goose cockroaches,” “puffed peacocks,” or “squeezing. ” from a critic. To this day, if I have ever referred to forms collectively in my paintings, I have referred to them as you have called them, “groups of forms”. But, like you with buttons and nails, I have a few comparisons in my pocket. In the last sometimes I think of them like handfuls of confetti thrown into the air, or soap flakes thrown onto a snow globe—light things that can be easily carried and tossed by external forces like changing wind or water. Sometimes I think of these shapes as flying, like the hum of starlings or the beautiful wings of migrating monarchs ready to land. Reject the forms? Revolt against form? Maybe I should look up a more specific word for “forms.”
That’s right – in my latest pictures the view is up and away from the ground. I felt all my forms fixed or joined or glued or collaged below the horizon. His observations of gravity helped me realize that when my paintings were about the earth, the relationships between shapes were very precise. Now that everything is blown up, all proportions change and things move, unless they gather towards the bottom edge of the picture, like snow falling on a windshield. Can you tell me more about gravity in your work? About weight and lightness? About NASA’s weightlessness experience last year?
Details: Mariel Capanna, shutters, light bulb, hay bale, swan, oil, marble dust and wax on panel, 12×9 inches, 2021.
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SZ: Throw away the forms! I like. Now that you mentioned flying in zero gravity, what happens in a plane in zero gravity is similar to your pictures: throwing objects-people-figures. When I floated next to someone’s toy and water balloon, I felt the balance of value and weight to be no different from a small balloon. And I giggled a lot, feeling real empathy for small, potentially inanimate things. When I saw the sock in your picture I felt the same way hehe.
[In recent times, electricity, ultrasound and waves are widely distributed, albeit fictitious, in forms such as wires, paper, networks. … I think about how these immaterial forces transmit information and cut gravity. — Stella Zhong
I don’t think I deal directly with gravity most of the time. I have become involved with other forces that move against him or get rid of him; more recently, electricity, ultrasound and waves are widely present, albeit fictitiously, in forms such as wires, paper, networks. … I think about how these immaterial forces transmit information and cut gravity. And they take me to a dimension where I see everything as a temporary combination of atoms. Small objects seem to be magnifications of various atomic processes: grouping, division, reconfiguration…
Do you think that drawing fluttering objects is a basic practice or is it more of a fascination for you? I’m curious because I recently discovered that I work very much as an artist. I treat the spaces or structures I build as a canvas. Although I put a lot of effort and effort into making them, they are not concrete until they are filled with small items. My process is to identify something in the blurry field and then find a place that possibly accounts for or triangulates the observed plane/planet shifts. I like what you said about closeness and distance. It’s a strange feeling – my favorite – to feel very close to something that is unattainable and perhaps unknown.
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When I think about light, my mind is often torn between space and subatomic space. In both places, light does not enter the atmosphere like oxygen. I think it must be very dark. I don’t know where my light comes from. The atmosphere shown in your works is medium for me. This tells me that I am in a certain angular position between the sun and the earth in order to access the color range of the sky. I’m interested in the idea that sunset/sunrise is “ephemeral”, but it isn’t. It is always there, the pink-orange-blue nebula is always nearby, we ourselves are spinning in the visible zone and we have to get out of it.
MS: Wow, Stella! Thank you for pointing out what I now take for granted: the colors of sunrise and sunset are always present and we always turn towards them or away from them. Until now I thought this pink-orange-blue light state was “transient”. In general, transience was an important part of my painting process. I always work with direct observation of videos or slides of moving images, and because these images are ephemeral I feel compelled to capture and collect something from them. Here “to catch” may mean to notice and remember for a moment; “to collect” means to leave traces in my painting.
For a while, I treated my source material—say, a found home video—as if it were a lifetime, with an uncompromising beginning and an uncompromising end. I made a strict rule for myself that when the video is finished, the picture must be finished. I felt the need to see as much as possible and draw as quickly as possible, because everything I missed from the screen was lost in the picture. But over the past few years, I’ve relaxed those time constraints and prefer to treat my source material as one day follows another; I allowed myself to look at the same thing over and over again until the picture felt complete. If I work like this, I can be sure that everything I miss once I will catch the second time, the seventh or the eighteenth time. It was as if he knew the sun would rise again and give me another chance. I have always thought of my paintings as changing viewpoints, but I understand that there is something in my logic that still has a fixed position in relation to the sun. Maybe that will change through this exchange. I like the idea that the images can chase or follow the pink-orange-blue.
Is his account of these fluttering things rooted or disjointed? Sometimes I can go crazy trying to watch too many things at once. But if I soften and generalize my attention, I usually have time to pay attention to one thing, then another, then a third. So, at best, it can be both: I feel light, nimble, flexible (untethered), but at the same time strong and confident (grounded). The pictures are built from one small object/shape, and if those shapes look too different, I connect them with something thin, like thread, ribbon, ribbon, bow. Perhaps these lines of mine play the same role as your threads and webs – the subtle forces that hold things and spaces together.
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I notice that when objects are inserted into holes or gaps in sculptures, or when things are inserted behind
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