Imperial Citadel, Classicist-Revisionist Period
Cut-paper collage on vintage paper
Cut-paper collage on vintage paper
10" x 14"
Reconstructed Space is an exhibition of new work from artists Jonas Criscoe and John Diebel opening in April at Rosalux Gallery. In this show Mr. Criscoe, with his graffiti-laced assemblages and Mr. Diebel, through his intricately cut paper collage, examine built environments and the spaces they renegotiate through their interactions with nature and history. The exhibition opens April 6th and runs through the 28th with an opening reception with the artists Saturday, April 6th from 7-10 PM.
Wednesday, March 27, 2013
Jonas Criscoe: Work in Progress 6
Untitled- in progress
3 panels, each 24" x 34" x 4"
Mixed-media collage
Monday, March 25, 2013
Sunday, March 24, 2013
Friday, March 22, 2013
John Diebel: Eclipse of the State Religion
Eclipse of the State Religion
Cut-paper collage on found image on wood veneer panel
11.5" x 11.5"
johndiebel.com
Thursday, March 21, 2013
Jonas Criscoe to Speak at the Minnesota Museum of American Art
| Thursday, Mar 28, 2013 |
| Collaboration in the Studio |
| MMAA Project Space | 332 N. Robert Street, 55101 |
| 7:00 PM to 8:00 PM |
Join Cole Rogers, master printer and co-founder of Highpoint Center for Printmaking and Brian Hartley Sago a Highpoint Artist Co-op member in conversation with D.I.Y. printers Jonas Criscoe andCaitlin Warner, plus special guest about what it means for artistic practice to be collaborative and cooperative. Reception to follow.
>> More information here.
Monday, March 18, 2013
Saturday, March 16, 2013
John Diebel: Reconnaissance Drone Malevich Ma-9 Acquiring Target
Reconnaissance Drone Malevich Ma-9 Acquiring Target
Cut-paper collage on found image
11.5" x 11.5"
johndiebel.com
John Diebel: Artist Statement
On Reconstructed Space
This body of work imagines alternate histories; worlds in which the
idealism of such early 20th Century art movements as Suprematism,
Constructivism, and De Stijl have been implemented as the complete cultural
revolutions that their manifestoes demanded. What happens to revolutionary zeal
and the fervent desire to forge a New Humanity over the course of decades and
in the face of seemingly immutable human nature? The specter of the Soviet
Union’s doomed experiment in compromised ideals helps to inform these dystopian
visions. Here we find Imperial cities on the verge of decline, dominated by
geometric edifices in primary colors, and over-flown by menacing architectonic
drones. Worlds very different from those exhorted by artistic doctrine, but
also not unlike our own world today.
General Statement
Through a technique of highly structured, accurately cut paper collage I
seek to evoke architectural spaces which exert ideological power over their
surrounding environments. Sometimes the ideological symbols are drawn from
familiar past human history, other times from future or imagined histories. I
have long been fascinated with representational architecture and the ends that
it serves; particularly when those ends have been obscured by the passage of time.
“Paper
architecture” and architectural modeling serve as guides to my technique. Some
of the greatest artistry I’ve seen has been in the form of drawings and
sculptures of un-built or un-buildable structures. My own frustrated inner
architect is nominally appeased by the labor-intensive practice I have
developed. Following a free-ranging process of drawing and
experimentation, the construction of each image is done in a methodical manner.
Emphasis is put on accuracy of cutting and the construction of a smooth surface
for each shape. The result is an optical illusion: a 2-dimensional image with a
layered surface that projects out from the background through multiple layers
of cardstock and paper. A convincing 3-dimensional space emerges from this
illusion, even when a false axonometric perspective reminiscent of early video
games is used.
Friday, March 15, 2013
Jonas Criscoe: Artist Statement
My work explores the way in which environments and landscapes are altered by our society, and nature's ability to reclaim the spaces and the things that we abandon. A number of the works in this series were created using various found materials and imagery collected during way finding walks and drives. They are on one hand a conversation between old-time quilt making and modernist geometric abstraction while on the other a means of exploring the patina of wear and exposure on materials and surfaces.
Some of the patterns that I have chosen to utilize (most directly the block patterning) are traditional quilting designs that can be found in turn of the century quilts. The idea of using bits of discarded material to create elaborate compositions and how uniform shapes can be combined to generate a larger more elaborate form intrigues me. In a way, this is how we experience the world as we go about our daily lives. As we drive down the road, watch television, surf the net or text on our phones. The signs and information we're bombarded with, the people we come in contact with, the bits of conversations that we tune in and out of. After a while no one detail can be isolated amongst the cacophony of images and information, everything seems to blend together and become one continuous grid like blur.
The graffiti that I use in my work are tags that I have collected from past places that I have lived (Austin, New York, Seattle, Barcelona, etc.). I use them to express the idea of the individual voice amongst the cacophony of mass produced imagery and objects that surrounds us all. The worn surfaces that are characteristic of my work are an attempt to give them an "aura" of touch. As an artist and a maker one of the things that I admire most about graffiti is the patina that tagged surfaces acquire and the forum that these surfaces become in facilitating social interaction, dialogue and expression. When a surface has been reclaimed, scrawled over with tags, posted over, painted, re-painted, pissed on, scratched all to hell and left to the elements to fall apart and rot this is when that surface truly attains a history to it, an "Aura" of touch. It becomes a true physical embodiment of the countless hands that have collectivity formed it into being. Standing not only as an artifact of the community from which it came but also as a surrogate for the action that created it.
Jonas Criscoe online gallery
Some of the patterns that I have chosen to utilize (most directly the block patterning) are traditional quilting designs that can be found in turn of the century quilts. The idea of using bits of discarded material to create elaborate compositions and how uniform shapes can be combined to generate a larger more elaborate form intrigues me. In a way, this is how we experience the world as we go about our daily lives. As we drive down the road, watch television, surf the net or text on our phones. The signs and information we're bombarded with, the people we come in contact with, the bits of conversations that we tune in and out of. After a while no one detail can be isolated amongst the cacophony of images and information, everything seems to blend together and become one continuous grid like blur.
The graffiti that I use in my work are tags that I have collected from past places that I have lived (Austin, New York, Seattle, Barcelona, etc.). I use them to express the idea of the individual voice amongst the cacophony of mass produced imagery and objects that surrounds us all. The worn surfaces that are characteristic of my work are an attempt to give them an "aura" of touch. As an artist and a maker one of the things that I admire most about graffiti is the patina that tagged surfaces acquire and the forum that these surfaces become in facilitating social interaction, dialogue and expression. When a surface has been reclaimed, scrawled over with tags, posted over, painted, re-painted, pissed on, scratched all to hell and left to the elements to fall apart and rot this is when that surface truly attains a history to it, an "Aura" of touch. It becomes a true physical embodiment of the countless hands that have collectivity formed it into being. Standing not only as an artifact of the community from which it came but also as a surrogate for the action that created it.
Jonas Criscoe online gallery
John Diebel: Battle Drone ‘Ilya Chashnik SG-06’ is Deployed
Battle Drone 'Ilya Chashnik SG-06' is Deployed
Cut-paper collage on found image on wood veneer
9.5" x 12.75"
johndiebel.com
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