Artery

Discussing SPILL with artist Sarah Spencer White

Rebekah L. Cowell · 5 Feb 2010, 8:41 AM · Comment

SPILL
Installation by Sarah Spencer White
Golden Belt Arts, Building 3, ROOM 100
Through Feb. 14

It took sculptor and ceramics artist Sarah Spencer White 18 months to hand-craft more than 100 individual pieces of earthenware for an exhibit at the Golden Belt gallery in downtown Durham.

White’s new installation, SPILL, references past and present handcrafted forms, and explores the shift between industrial and handmade, symbolic of the former Golden Belt’s recent past as a functioning factory. SPILL asks us to meditate on what we expect from a vessel. Functionality or dysfunctionality? A sieve or a container? In a Q-and-A with the Indy, White took the time to describe her vision, her discoveries and her inspiration.

Independent Weekly: What brought about this particular ceramics installation, SPILL?

Sarah Spencer White: The work for the SPILL exhibition was conceived and made for this particular space. I wanted to make work that would refer to the industrial production history of Golden Belt and also work well in a gallery that is basked in natural light from the large skylights. These two goals led me to conceive of an exhibition that would be mainly white in color and one that would be a large grouping of pieces. The idea to make pieces that all had a series of holes and perforations grew out of some earlier pieces.

Each vessel has holes that make it useless for the purpose of containing liquids. Why?

I wanted the pieces to reference various vessel and container shapes, but to also have holes that would make these containers unable to contain liquids. I like setting up contradictions. The perforations create a window of sorts into the enclosed space, but they also make it impossible to hold liquid. I think that the function/ dysfunction juxtaposition urges the viewers to ask more questions about the work, to look at it a little bit longer, to engage with it on a deeper level.

I’m curious about the connected network of ceramic pieces.

The table piece is called “Hydropathy.” I have used the table to house other collections of work in the past and originally fabricated it because I was frustrated by the pedestals that [another] gallery had to offer while [I was] planning a show. For this piece I wanted to create a system or network of pieces that implied a filtering-down. The holes in the piece at one end are the largest and the holes get smaller and smaller as you proceed down the table. I also wanted to use this piece for the Golden Belt show because it points back to the industrial history of the building.

You mention you were hoping to discover the shifting barriers between industrial and handmade in creating SPILL. Do you feel you made that discovery?

I have been thinking about and working with the shifting barriers between the mechanical/ industrial and the organic/ handmade in my work for a long time. I don’t know that I can name specific lessons learned from this body of work. I can say that anytime I complete a large body of work or install a show I am aware of how precarious and changing the human relationship with the industrial is. We live in such an interesting time of science, technology and medical advances. It is also a time where a value of the handmade and natural seems to be increasing in response to these advances. Continue reading »

Installation art, Visual Art and Artists ceramics, Golden Belt Arts, Haiti earthquake, Sarah Spencer White

Picasso’s Closet: The Independent Interview with Ariel Dorfman

Byron Woods · 22 Oct 2009, 8:11 AM · Comment

I spoke with Ariel Dorfman about his play, Picasso’s Closet, for about 45 minutes in his office at the John Hope Franklin Institute at Duke, at midday on Oct. 13, 2009. Nasher Museum of Art will present a staged reading of the play in conjunction with its Picasso and the Allure of Language exhibit, Oct. 29-31, at 7 p.m. Tickets are available at the Duke Box Office website.

Independent: This must be a difficult script to produce.

Ariel Dorfman (Photo by D.L. Anderson)

Ariel Dorfman: This is an experimental play. Let’s say I’ve tried to do, modestly, in theater with time what Picasso does with space—which is to create many perspectives and break down the barriers of identity. Therefore it verges between the popular and the experimental.

As different characters place their viewpoints one after another, there are these interstitial planes of reality coming at each other…

Most biopics, say, tend to be rather linear. Or at least they go back and forth—childhood to adulthood to childhood to adulthood—

—the narrative of ping pong—

—and they’re very predictable in that sense.

I said to myself, “How can I possibly write a play about Picasso as if Picasso’s art had never existed?” It had to be influenced by Picasso; the greatest homage to him is really not the character on stage, but the art with which he’s being portrayed. It’s a post-Picasso play, whereas most plays about Picasso I’ve seen—most plays about artists I’ve seen—tend to act as if the artist had not influenced them at all.

Continue reading »

Interviews, Theater, Visual Art and Artists Add new tag, Ariel Dorfman, Byron Woods, Dorfman, Picasso, Picasso's Closet, Theater, theatre