interview

Caroline Wilder: Hands in the Soil, Hands in the Clouds

44757132_609065846155689_4753984233473572864_n.jpg
43576870_1501886756621604_6785081234188926976_n.jpg

Caroline Wilder

almost 30



Where do you live/work:

Mostly with my partner in Tivoli, but also my family farm at Montgomery Place.

I work in a little garage-turned-studio attached to a barn there.


44756362_472773926577799_6622039263405932544_n.jpg
44755806_356280981845521_156490917295947776_n.jpg
43538233_181262856126496_9184496840454701056_n.jpg


What brought you to where you live:

43576870_1501886756621604_6785081234188926976_n.jpg


I was born here

44679975_1789441217848640_1817219844261543936_n.jpg
 

What’s your favorite color:

indigo

rose gold too.

and cream

 
44581752_473489423172367_1951768177369153536_n.jpg
 

What’s your favorite place:

Deep in the apple orchard at dusk late September, early October

Also my aunt’s home in Munich, Germany

 
43629065_278051079506422_4956450808578179072_n.jpg
43576870_1501886756621604_6785081234188926976_n.jpg
43723210_301286760705375_5378018959830286336_n.jpg
 


Name three of your favorite books:

Braiding Sweetgrass, Robin Wall Kimmerer

Women Who Run with the Wolves, Clarissa Pinkola Estes

Mary Oliver: New and Selected Poems, Mary Oliver

44677346_356153795128262_6995868397896466432_n.jpg
 
44729220_117200319155972_5604971289518276608_n.jpg
 
44602295_174638316798634_285711201738948608_n.jpg
 

Which artists inspire you:

Lina Schynins, simplicity, intimacy, vulnerability

Sophie Leemyer, capsulizes my dreams, nightmares, imagination

Kiki Smith, use of nature

44750600_287636601858053_3429994550834233344_n.jpg
 


What is an artist:

Someone who makes you feel.

43576870_1501886756621604_6785081234188926976_n.jpg
43738847_2167609430136467_2987389928939192320_n.jpg





What is art:

Something that makes you feel.

43576870_1501886756621604_6785081234188926976_n.jpg










How do you identify as an artist:

Hearing how people feel wearing Idunn. Also, if I’m not creating, I feel dead. That’s a little dramatic, but true.




44757138_1118241675009490_6833925616618700800_n.jpg
44776280_636311343431383_2431060478626103296_n.jpg
 

What was a pivotal project, person, or experience that shaped your practice:

All of the women who I worked with and therefore raised me (mostly my mom).

I was so lucky to grow up around such special breed of woman: so hard-working, creative, beautiful, sensual. Hands in the soil, hands in the clouds. Dreamers and doers.

44675109_342282019853643_5071370264969740288_n.jpg



What are key elements or constants in you practice:

44750608_2762439323781580_7510755313633460224_n.jpg

!Linen!

Looser fitting, longer silhouettes that drape in a flattering way on different bodies.

 
44713526_172565400318063_4809972873093447680_n.jpg

What are your current interest and inquiries as an artist:

Trying to do less better.

Also, I have been considering/ruminating on this quote by architect Lina Bo Bardi:

“We need a world of consumption in resonance with our hearts.”

44730781_312179636034961_5960075968621051904_n.jpg
44581780_305428200291420_198351863291052032_n.jpg
 



What do you see as the value of art:

Natural way to alter your mood.

to unearth something, shine a light on it. .Catharsis.

44750608_2762439323781580_7510755313633460224_n.jpg
44733986_185157322375039_364157057118502912_n.jpg
44893329_1972145816419346_6977202435668312064_n-1.jpg





What is your greatest challenge as an artist:

Being my own boss. Homing in on any one medium.

Putting a price on it so it can be attainable to who I am making it for but also afford me a living. wage.




What has been a victory for you as an artist:

44750608_2762439323781580_7510755313633460224_n.jpg

Seeing the women I look up to wearing Idunn.

44601406_727295560962756_7893867195300577280_n-1.jpg

What’s next for you as an artist:

Getting back to the sewing machine.

I had help with production this year and feel like I really missed out.

My design process happens when I sew.

 

Lizzy Marshall: Self-Defined Editor in a Deep Atlantic Blue

38055918_1888889451175964_1217034384104751104_n.jpg
med_res-2.jpg

Your name / age: 

Lizzy Marshall / 35

 Where do you live / work:  Kingston, NY

Where do you live / work:

Kingston, NY

med_res-2.jpg
bFgy0yi9SE+007Zl6Lq0yw.jpg

 

 

What brought you to where you live:

A job, but mostly a need for quiet

 
med_res-2.jpg
38027340_1888889057842670_6075245718526754816_n.jpg
38022292_1888889074509335_4743501438074748928_n.jpg

What's your favorite place:

The Northern California Coastline

38023496_1888889281175981_4332386532846469120_n.jpg
V3vSXSPNQ1C6iOiwyMZb+g.jpg
ssI8X73VSqKpKrX9MZajzQ.jpg
med_res-1.jpg

Name three of your favorite books:

Radical Love, Fanny Howe

Eros the Bittersweet, Anne Carson

The Night Sky: Writings on the Poetics of Experience, Ann Lauterbach

38022286_1888889341175975_8156563432531820544_n.jpg

Which artists inspire you:

Andre Masson, automatic, hallucingenic

Cy Twombly, force energy

RH Quaytman, her perfectionism

Mira Schor, politics in drawing

 

 

What is an artist:

someone who is self-defined.

What is art:

freedom

 

 

37807541_1882005108531065_2067897431558717440_n.jpg

How do you identify as an artist:

As an editor.

 
%oH2w5fISOSl8crwo4SRmg.jpg

 

What was a pivotal project, person, or experience that shaped your practice:

Amy Sullivan taught me about commitment and  I haven't let go since.

 

37800797_1882005678531008_5418487202550120448_n.jpg

 

 

 

What are key elements or constants in your practice:

Drawing Always. The figure/ human form.

What are your current interests and inquiries as an artist:

What role does color play in my paintings?  How do I create two different spaces of time in one painting.

                                                       

                                                        What do you see as the value of art:                          

med_res.jpg
oCLgZv%lRgewPs1GXKgZBw.jpg

                                                  What is your greatest challenge as an artist:

med_res.jpg
37793923_1882005638531012_4189674845593665536_n.jpg
med_res.jpg
37830859_1882004505197792_2084969329559863296_n.jpg
med_res.jpg
38055967_1888889581175951_4211087989163425792_n.jpg
 

Rebecca Cosenza: That is, Makeshift and Mine

 Joan Prepping for a Summer Party, Switzerland. Cyanotype, 2018.

Joan Prepping for a Summer Party, Switzerland. Cyanotype, 2018.

 

Steeped in sunlight on the first heatwave of the season, we descended upon Rebecca Cosenza's home studio in Germantown, NY; someone we know well, and get the pleasure of working with weekly at Instar. We found prints on coffee filters, alternative photographic prints, and all other sorts of treasures.  No surprise, except that perhaps giving an artist an opportunity to share their own words it's impossible not to be surprised!

In her own words ...

 
Screen Shot 2018-06-01 at 1.33.35 AM.png

 

My name is Rebecca Sienna Cosenza.

Three names.

Three syllables.

Each name has seven letters

And end in

The letter

A.

         

 What's your favorite color?

Earth pigments, those umberssiennas, and ochres

hazy grey-blue and the shades of amber at golden hour

 
 A Cafe in Vienna. Manipulated CYMK Gum Print, 2018.

A Cafe in Vienna. Manipulated CYMK Gum Print, 2018.

Name three of your favorite books:

  1. Poetics of Relation, by Edouard Glissant

  2. Writing Women's Worlds, by Lila Abu-Lughod

  3. The Prophet, Kahlil Gibran

 

 Makeshift and Mine: Home Studio feat. Velvet Couch, Black Madonna, and a Cat named Baci

Makeshift and Mine: Home Studio feat. Velvet Couch, Black Madonna, and a Cat named Baci

Artists that Inspire:

Jenny Saville for her movement away, towards, and through beautiful bodies, 

and her memory of touch.

Carmen Amaya for her duende, her technique, and her pants.

 Njideka Akunyili Crosby for her process and storytelling.

 
 Stone Cutting, Backyard.

Stone Cutting, Backyard.

What is an artist?  

an interpreter,

a translator,

an educator at times.                                                                                                                    What is art?

Art is relation, in constant flux. 

Art is communication.

Art is translation between

idea and action,

material and object,

breathe and performance.

 

 
34119750_1799893893408854_5773493196189335552_n.jpg
 

How do you define yourself as an artist? 

As a biracial artist. A visual artist.  A dancer. A collaborator. I define myself as an artist through the objects I create, the dances I perform, the projects I am a part of, the communities I support. 

 
34067451_1798816610183249_6984846481022779392_n.jpg
 In the Painting Studio, SRC

In the Painting Studio, SRC

What was a pivotal project that shaped your practice? 

My portrait series of Kichwa women I worked and studied with in Ecuador as part of a linguistic ethnographic field site. Questions spilled from this project on the ways in which art can be used to bear witness to and hold space for others. 

 

On the constants in her practice: process. process in iteration. process as shown through form. the processing of memory. the process of being in place, out of place, holding place for someone or something. memory. movement. body, be it body in movement, body as form, or the memory of bodies.

On the value of art: Art is inherently relational. Where there is art, there is reaction. Where there is reaction, there is disruption. Where there is disruption, there is openness and opportunity. It is in this space that art spills through borders and creates the context for something else to occur.

 Study of Loie Fuller in Atlas Mountains. Carbon Print, Digital Negative from iphone photo of Atlas Mountains., 2018.

Study of Loie Fuller in Atlas Mountains. Carbon Print, Digital Negative from iphone photo of Atlas Mountains., 2018.

 Layered Fabric with Gum Prints, 2018.

Layered Fabric with Gum Prints, 2018.

What is your greatest challenge as an artist?

 

At this stage in my career,

allowing myself to continually redefine

what my artistic practice looks like as

I move between different studio spaces, mediums, and time schedules

—and remembering that mindfulness is as valuable as object making in a sustainable practice.

 Color Scene of Lausanne from a Moving Train Window, 2018

Color Scene of Lausanne from a Moving Train Window, 2018

What has been a victory for you as artist?

 In the car, in-between, on the way. I find I always come and go with a tobacco box filled with thread and paper, my portable studio.

In the car, in-between, on the way. I find I always come and go with a tobacco box filled with thread and paper, my portable studio.

Claiming and proclaiming myself as an Artist

 

Brece Honeycutt: Shades of Blue, Early Fuchsia, and Sharp New Greens of Spring

brecehoneycuttstudio.jpg
 
IMG_9708.jpg
Honeycutt_instar_page 1.jpg

On a sunny day with ice still underfoot and tulsi tea in hand, we wandered and mused on flower names, process, and Emily Dickinson with artist Brece Honeycutt in her Sheffiled barn studio.

In her own words...

 

           shades of blue            early fuchsia            sharp greens of spring            shades of blue                     early fuchsia            sharp greens of spring            shades of blue            early fuchsia            sharp greens of spring            shades of blue            early fuchsia            sharp greens 

 Shades of blue, as well as the early fuchsia and sharp new greens of spring

Shades of blue, as well as the early fuchsia and sharp new greens of spring

IMG_9693.jpg
  1. The Poems of Emily Dickinson, edited by R.W. Franklin
  2. An American Dictionary of the English Language by Noah Webster
  3. The Paper Garden: An Artist [Begins her Life's Work] at 72, Molly Peacock
 A few favorite reads...

A few favorite reads...

Artists that Inspire:

Patience Gray for the way she lived off, for, and by the land.

 Lois Dodd for her color, her observations, and her flowers.

Susan Howe for her archival mastering, Dickinson delving, and poetry building.

Mary Oliver for reminding us "to pay attention, that is our endless and proper work.

What is an artist? A maker.

What is an artist? One that looks at the world and wants to question, enhance, posit, educate, and better.

What is art? Actions taken. Objects made. Thoughts considered and pursued.

             

IMG_9698.jpg

How do you identify as an artist?

Finding facts and bringing them to the fore.

Finding joy in making with my hands.

IMG_9712.jpg

On the constants in her practice: research, the natural world, and the realm of women's work.

IMG_9720.jpg

On the value of art: Awareness. Joy. Pathways of exploration.

IMG_9714.jpg

What is your greatest challenge as an artist?

To be current, both in step and out of step with the world.

What has been a victory for you as an artist?

When the circle is completed.

IMG_9725.jpg

It is a whole life... When the circle is completed.

 

Words and handwriting, Brece Honeycutt. 2018.

*She is leading a wildflower walk at Bartholomew’s Cobble, 105 Weatogue Road, Sheffield MA Sunday May 13 at 3pm

NOT TO BE MISSED

Creating with More Time: Sonia Corina Ruscoe

(Full audio conversation below)

Soniaruscoe.jpg

I was delighted to spend the afternoon with Sonia Corina Ruscoe the curator of our upcoming April exhibit, Tragic Instant.  We sat down in the women's writing room and recorded what could be best described as a mash up of Oral History and casual conversation.  Having recently attended Suzanne Snider's Oral History Winter School as a Community Fellow, I am eager to play with audio interviews and enamored with the ethos of Oral Histories, and of course have big OH future plans (give me a taste of something new and delightful and I'm gangbusters).  Some definitive characteristics of Oral History Interviews, is there are no pre-scripted questions, and it is primarily an opportunity for the narrator (what OH calls the Interviewee) to share a part of their life story--and one other peculiarity is long pauses. 

( I also want to suggest that if you have any interest or curiosity in Oral History, Suzanne is enrolling her Oral History Summer School program in Hudson, NY right now!  It is hands down one of the best educational programs I have EVER engaged in!  Inspiring is too small of a word.) 

But, lets talk about SONIA!!!  Sonia, approached me at Instar shortly following the presidential election with a beautiful and compelling project proposal, Tragic Instant.  In it she spoke eloquently about the instants that change everything, with their pain, tragedy, confusion, comedy, the strangeness that emerges at once.  She wanted to frame these quick cutting moments, giving us time as an audience to witness them. 

In our conversation Sunday afternoon, I learned more about Sonia's artistic practice as a self-taught painter coming from a formal photography history, which she shares in her interview.  She speaks of"more time" when creating, and what can happen when time is stretched, and how the slowing down of time is something she relishes about life upstate.

Listen to her interview (press that play button) and enjoy!  View more of her work here!  Come see her upcoming exhibit April 15th at Basilica Back Gallery, participate in the Sedar-Style dinner she's co-created, and join her and the group of 'Tragic Instant' artists for an in person closing conversation--learn more about everything 'Tragic Instant' here!  And consider helping send her to her upcoming European residency and castle drawing experience here!

Remote Dreams of Creation: An Interview with Artist Ruby Palmer

 Original installation ideas laid out in the Ruby's studio, before being written into directions to be reconfigured later by students at SFCC

Original installation ideas laid out in the Ruby's studio, before being written into directions to be reconfigured later by students at SFCC

We recently interviewed local Hudson Valley artist, Ruby Palmer, to learn more about her exhibit, “Subject to Change: a remote installation.”

During the month of January, Palmer followed a similar process to artist Sol Lewitt, writing and mailing specific instructions for wall drawings and paintings to be executed by a team of faculty and students of Spokane Falls Community College (SFCC) in Spokane, WA. Through this project, Palmer was able to explore a new meaning of what it is to create, by relinquishing control of her creation, by placing it into the hands of others and cooperatively imagining into its final form. The end results were better than she could have imagined.

IL: How has this project opened you and your practice as an artist?

The project was ALL about opening up. Since others were actually making and installing many of the ideas which I drew and designed, I had to completely reconsider how I approach making things.  I sent the team of instructors and students elements that I had made in my studio or at least chosen the colors for, and they assembled them with help from my written instructions. It was both exhilarating and challenging for me because I had to really get imaginative with hardware store materials and the given space, which I had never visited. I’ve always been curious about how instructions are written, and how to convey direction, whether it be in a cooking recipe or for IKEA furniture, and it’s a lot harder than I thought!

It was daydream-like in many ways. It actually parallels my creative process as I usually solve problems in my work through sleep or waking dream. I don’t work directly from my dreams, but I do have that moment when waking, where I “know” the answer to a problem. It’s usually a solid response that I trust.

In fact, the whole concept for “Subject to Change” came about that way. I went to bed thinking I couldn’t do an installation so far away, and I woke up with the idea to work remotely, turning it into a game with the students—giving them direction and they would interpret and make the ideas. The results were sort of incidental, and the hope was that they would learn a bit about my process through making.

IL: How do you measure success of this project?

The biggest feeling of success came from the students’ texts and emails to me expressing their enthusiasm and curiosity, and willingness to participate.

That was a relief for me, especially since we’ve never met! The final result was also interesting and dreamlike to see these images appear on my screens and realize I was responsible for them. 

 IL: What’s happening in your studio now?

I’m doing watercolor drawings in response to the Spokane project. I’m back to thinking about cutting into walls and floors and making compositions inside those shallow spaces. Since the opportunities are rare, I’m imagining them a lot.  I’m also continuing my “flower paintings” which I began last spring and are a departure in many ways, but are informing the other work. Who knows where they are going, but they satisfy my need for color, more voluminous shapes, more gesture and less hard edge geometry.

IL: It's not a secret, at Instar we love artist moms and are always interested in what that relationship is like. Can you tell us a little about your own experience of being a mother artist?

It’s a pretty big challenge and I am SO happy to have my kids in my life, I love them so much. I can’t work the way I used to, so I’ve adjusted, and my work has adjusted, for better and worse. Like, I have to leave all the dishes and piles of laundry and have a messy house.  Before I had kids I used to sit around contemplating my work a lot—too much, and now I really don’t have time—I’ve gotta get to the point. 

Ruby Palmer lives and works in Rhinebeck NY with her husband and twin daughters. Since 2016 she started and has run an artist lecture series at the Morton Library in Rhinecliff NY called ARTalks that runs monthly. Her work has been shown in NYC at Exit Art, Smack Mellon, Parallel Art Space, and Morgan Lehman Gallery, at Page Bond Gallery in Richmond VA, as well as Samuel Dorsky Museum in New Paltz, NY and Instar Lodge in Germantown, amongst others. Visit Ruby Palmer’s website to see her multi-disciplinary work. 

Ruby Palmer, “Subject to Change: a remote installation”, 2017 Spokane Falls Community College Art Gallery, Spokane, WA, Photo credit: Chris Billings
CLICK ON THE IMAGES BELOW TO WATCH THE PROCESS UNFOLD

The Hidden Past of Now: An Interview with Artist Melora Kuhn

Melora in studio

Standing inside Melora Kuhn’s studio, one steps into her upcoming installation.  An other room, something imaginary with painted walls displaying both the unnatural version of nature and interior settings of some mysterious historical place, a grand trompe l'oeil. Deeper than that, it is a space within a space and moves your thoughts to a mind inside a mind.

Her work confronts modern issues through a historical lense. In past work, Kuhn displays the idea of a known scene confronting the unknown. In paintings such as The Interior Chamber, she moves the viewer from a setting in an interior room to a place where the walls are filling the room with water. Or, as seen in The Wolf’s Cry, dogs and wolves battle in a Habsburgian wilderness. Her art provokes themes of class, race, and unspoken histories that can too often be lost in the fondness for a past time.

“I love to play off of reality,” says Kuhn. “I want to understand the thinking system and hidden elements within it.”

Kuhn’s upcoming installation for the Eigen + Art gallery in Leipzig is being finished inside her studio, a converted red barn from the late 1800s in Germantown. As a resident of the area for the last eight years, she has seen not just the small community of Germantown grow, but the Hudson Valley as a whole bioregion. This cycle of renewal and change mirrors her work, but Kuhn’s influences stretch beyond the valley.

Melora's Barn

“The quiet helps you to go deeper in the work,” explains Kuhn. “But those daily interactions [among artists] are missing. It makes you need to seek them out more.”

The as-yet-untitled installation will be shown this spring at the Eigen + Art in Leipzig. Her installation expands her previous work into a fully immersive piece, with painted walls, furniture, and interactive elements.

“I’ve always painted 19th century rooms. Now, I’m making one,” Kuhn explains.

Melorakuhn installation

The scale of her installation, incorporating a fully enclosed room, pushes her to new ways of creation. While she would always mix her oil paints the need for consistency lead Kuhn to developing her own color palette using Benjamin Moore house paint.

“I had to with more space,” Kuhn says. “It was to save time and make the colors consistent.”

painterspallet

As she is putting the final touches on her installation, her work takes on, literally, a new dimension. She moves from paintings of a room to art as a room. This natural evolution of her work goes on to establish what she most wants a viewer to take away from her work.

“To unravel it. To find out where we are now,” says Kuhn.

Melora Kuhn’s installation will be on display at the Eigen + Art Gallery in Leipzig from April 22nd through May 27th. For more information, visit their website.

Reported by William Crane, images by Dawn Breeze for Instar Lodge.

Melora Kuhn was one of the inaugural artists exhibiting in Time & Again in August 2016