Saturday, October 28, 2017
FOR IMMEDIATE RELEASE
Contact: Kathleen Caprario: firstname.lastname@example.org
Oregon Artists Present
(October 2017, Eugene, Oregon) GRAY SPACE is a cube-shaped itinerant art space, welded and wheeled by artists. The artists of the GRAY SPACE group will install their individual work inside the 6’x6’x6’ GRAY SPACE and park it for a day at various locations throughout Oregon. Each artist will create a different art installation. GRAY SPACE intentionally engages an audience without the confines and expectations of a gallery or art center.
White Noise is a digital media installation that explores institutional racism in America. Viewers are presented with the opportunity to consider and confront their own feelings about race, the benefits of white privilege and to remember those who have died in racially motivated or institutional killings. The venues for presentation on Saturday, October 28, 2017—the Oak Grove rest stop on the I-5 corridor (mile 206), Skinner’s Butte from 6th and Willamette Sts. and the historic Mims House—reference different aspects of the area’s relationship to race.
Within the Gray Space cube, viewers will be presented with the highly abstracted and looped White Noise video projected on a white sheet and viewable from both sides. Graphite drawings done of each of the remembered individuals and a list acknowledging them will be displayed within the cube.
The image of low-level static that metaphorically represents the status quo and normalcy assumed by those who benefit from white privilege or feel themselves unaffected by and insulated from issues related to racism is looped and unending. Symbolic absences, 2/10ths of a second of black, invite the viewer to consider their response to the complex cultural dynamics of race in America. After the initial static and first absence that commemorates Trayvon Martin’s death, more static and the remaining absences follow. Those absences, 2/10ths of a second for each individual remembered, interrupt the relentless static and appear chronologically within the track. The nine victims of the Emanuel African Methodist Episcopal Church shooting are represented by a longer, combined absence that commemorates their loss. These deaths were selected due to the resulting media involvement and social action response to their stories − each tragic loss became the catalyst for social awareness, protest, and change. Each tenth of a second experienced in the audio file represents a calendar day beginning on January 1, 2012, and is periodically updated to reflect the ongoing passage of time and events.
ABOUT THE ARTIST:
Kathleen Caprario traded the concrete canyons of the New York/New Jersey Metro Area for the real canyons and broad skies of the Pacific NW in the late 1970’s. Her early work reflected the experience of living and growing up in an urban area. But living in Oregon transformed the architecturally inspired work she had been doing into the architectonic shapes and patterns of the high desert, coastal rock formations and the openness of the seemingly infinite space that was her new home.
In addition to Caprario’s studio practice, she writes and performs stand-up comedy in the Eugene area. She recently wrote and produced a short film based on her comedy and life, “Mourning After” (19:47), in conjunction with the Shaggy Dog Project and the Downtown Initiative for the Visual Arts (DIVA), Eugene. “Mourning After,” was premiered at the non-juried Short Film Corner at the 67th Cannes Film Festival, France (2014).
Caprario studied both painting and textile design in art school and worked as a fabric designer in New York’s Garment District in the mid 1970’s. One of her original designs was the first printed repetition of the splattered, distressed jeans look; it sold thousands of yards, was printed on every sort of material imaginable and made into pants, shirts, skirts and the like—“ready-to-wear Pollock.” Her early career in textile design focused her attention on repeated motifs and she developed an interest in pattern and its cultural associations to feminine identity as well as the environment. That insight, coupled with having lived most of her adult life in the Pacific Northwest, has firmly rooted her creative practice in landscape, identity and the relationship of self to nature.
Kathleen Caprario exhibits her work regionally and nationally, and she received an Oregon Arts Commission Individual Artist Fellowship in 1989. Artist residences at the Graves’ Foundation (2014, 2009), Playa at Summer Lake (2011), the Jentel Foundation (2007) and the Ucross Foundation (1985), as well as living and working with Aboriginal children in Central Australia (2010) have informed and continue to inspire her work. Her teaching includes Adjunct Instructor appointments for the Art Departments at Oregon State University and Lane Community College.
ABOUT GRAY SPACE PROJECT:
The GRAY SPACE artists are Kate Ali, Lee Imonen, Michael Boonstra, Kathleen Caprario, Sandee McGee, Andrew Myers, Leah Wilson, Renee Couture and Vicki Amorose. This group of Oregon artists gathers around an ideaphoric concept: the traveling installation space, freely accessible to random audiences. In its first year, GRAY SPACE will be parked at various locations in Oregon. The artist will be present to talk about their work. GRAY SPACE intentionally engages an audience without the confines and expectations of a gallery or art center. While on site, the project activates public space and explores the interplay between site, context, art and viewer. GRAY SPACE artists find momentum together and tap the generative resource of each other’s creative drive.
Email Kathleen Caprario email@example.com