Sunday, March 6, 2011

SECOND TRIP TO THE VAULT


Caged Crosses - 1979
Terry Jarrard-Dimond
wire - woven tape - string - 24 x 24 x 6

Today I am posting the second installation of work from my personal "vault". The pieces I am sharing today were made in 1979 - 1981 and all are three-dimensional works using welded fencing wire with fabric or some other material with a textile reference such as string, metal shavings, woven strapping and excelsior.

This work developed from my desire to make work which had dimension and welded wire or fence wire is ridgid and it was a natural solution for me as it has the ability to be worked into volumetric forms. The top piece is from an early group of 4 pieces which were very spare. The wire was made into very open structures and then "filled" in with woven tapes and cords. The patterns created on the wall from these additions was an important part of the piece as a whole.



Untitled - Date Unknown
Terry Jarrard-Dimond
wire - paint - excelsior - fabric - 16 x 12 x 2 inches


This small work is not only made with wire but filled with wire. The edges of the wire in the center have been painted red. The smaller box on the top left edge is filled is wood shavings and a bit of turquoise fabric.

The themes of work in this series range from windows to boxes. Looking out a window or into a windown was explored. The use of the box as a metaphor for people, situations and memories. The materials themselves were often the source of the idea for the work.




View Through Cleopatra's Window - 1981
Terry Jarrard-Dimond
wire, fabric - sheet aluminium - 34 x 32 x 6 inches
Now part of The State Art Collection


View Through Cleopatra's Window is one of the three works purchased for inclusion in The State Art Collection which was established by the South Carolina Arts Commission. This collection is now housed at the South Carolina State Museum in Columbia, SC.


One of the more extensive groups of work in this series used torn strips of commercially printed fabrics as seen in View Through Cleopatra's Window. These strips were wrapped, woven or tied to the framework along with shapes cut from sheet aluminium.





View Through A Windowbox - 1981
Terry Jarrard-Dimond
wire, fabric - sheet aluminium

This detail might give you a better idea of the density of the fabric and the compactness of the space. This is a detail from another piece in this series titled View Through A Windowbox.





Untitled - 1979
Terry Jarrard-Dimond
wire - gauze - string - 42 x 42 x 8 inches

When you enroll in a graduate program I believe it is necessary to become the student no matter where you believe yourself to be in regards to your art. This is hard for many artists. They feel they have achieved a level of competence with their work and it can be hard to accept the amount of input that you receive in this type of environment. I understood this and that knowledge allowed me to experiment and grow. As you progress in your studies and your insigh int your work deepens and you gain confidence it becomes more difficult to listen to or even allow as much criticism as you often receive. You learn to take yourself more seriously and trust your ideas which is exactly what should happen. You become approporately more protective of your ideas and your work and it is this belief in your work which helps you go out into the world and do your work. The piece pictured above was the result of my very first experiment with wire.

I made this piece one Sunday in my studio at school. I was alone and when I put it up and I sat and studied what I had made I knew it was important. While it is not "a masterpiece for all times" (not much graduate work is), the piece was pointing me in a direction that I pursued for some years. Before I left the studio that day, I carefully took it down and put it out of sight. I was not ready to share it with anyone and did not want to hear anything - good or bad - about the piece. I needed to absorb what I had made and what it ment to me without any outside interference. That was during my last semester of school. I knew I was ready to graduate.



Yellowcomb


This is a photograph taken inside a studio Tom and I shared. Tom built this building up in the mountains and we used it for about 10 years. My area was in the front of the building and his was in the back and you can see some of his paintings in the background. This shoot was taken in about 1993 and I'm working on some paintings for a portfolio of textile designs I was preparing for a job interview.


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8 comments:

  1. Thanks for searching into the vault to find these. My personal favorites are your Caged Crosses and your untitled piece from 1979. That last one is particularly beautiful to me for reasons I'm not sure that I can articulate. Thanks again for posting these Terry.

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  2. Thank you Valerie. Your comment is very interesting and I rather like and appreciate your response. I don't think it's always necessary to know why we respond. Sometimes the piece and your experience will stay with you longer this way as you ponder your feelings.

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  3. Terry, This wire work is very compelling. Thanks for posting it. I like the rigidity of the wire contrasted with the softer fabric and string. That first piece is very strong and reminds me of your inspiration from Eva Hesse. Also thanks for posting the image of you in your studio. Looking back is a great resource.

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  4. Thank you Nancy. It's an interesting exercise to remind yourself of where you have traveled in your studio.

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  5. Thank you for your comments on your experience in grad school. I find myself at the point you described -- feeling like I have just begun to find my voice, not wanting others to see it until I have more fully developed it and very protective about what I am doing. It is nice to think that this is a positive step on my development as an artist and not just paranoia!

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  6. Hi Pamela. Thank you for sharing your experience. The protective feeling you are experiencing is important and I'm glad you are listening to your inner self. This is not paranoia. This is your self awarness sending you the message to value and protect your ideas until you have absorbed what you have done and know where you want to go AND are strong enough to not be turned away from your ideas. I appreciate your comment.

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  7. Hi Terry, I appreciate your sharing these works from your "vault". Wise thoughts about this protective feeling, which I have been experiencing for a while -- and which is unusual for me. But you nailed it -- "until you know where you want to go AND are strong enough not to be turned away from your ideas." I am definitely gathering this strength now in my own work.

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  8. Hello Jeanne! Great to hear from you. I read your blog just this week and I know you are working hard on many levels. I appreciate your comments. Change is good but it does provide challenges.

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