A blog companion to LindaHutchins.com
Pat Boas Logo in Transformation Chase
Pat Boas Logo series
Today is the final day of the show Transformation Chase at PCC Sylvania's Northview Gallery, and there will be a 2 pm gallery talk with the artists (Pat Boas, Brendan Clenaghan, Michelle Ross, and David Schell). I wish I could go. I would love to hear Pat Boas's thoughts about the materiality that is so present in her new handmade paper pieces. The highly organic deckle and the surface texture complicate the formal relationship of positive and negative space, and the physicality of the layers plays subtle visual tricks on me. The folds clearly indicate which layer of paper is on top but the cut shapes suggest a reversal and give the opposite illusion. In the white-on-white one, physicality becomes the whole story and I am drawn into the mystery of what might be taking place in that space out of sight between the layers. Oh, and I would go again just for another look at Michelle Ross's show-stopper, Om Chain. Daniel Peabody has a snapshot of it on Instagram.
— Linda Hutchins, February 14, 2015 /
Drawn with all ten fingers while speaking to an audience
One of the through-lines in my work is focus. I create in ways that challenge me to focus intently, and that make my focus visible in the finished work. I want to capture the tug of war between focus and distraction, to make my mental state—my consciousness—apparent. When the results become too regular or easy, I look for ways to up the ante. This is part of what leads me to draw with both hands, and it's part of what drives me to draw in performance. Performance requires focus in the face of the ultimate distraction: the audience. If intense focus alone in my studio is too easy, how about in front of an audience? I want it to be difficult; otherwise, it's not focus.
Thanks to Brian Libby, whose Facebook link to an article about anxiety and mental preparation in competitive sports (!) got me thinking about this.
— Linda Hutchins, January 15, 2013 /
Heather Watkins Gradual Intent
One of many ink on paper sheets by Heather Watkins in her installation, "Gradual Instant"
I'm writing this from memory - my memory of Heather Watkins' installation Gradual Instant at Reed College's Edith Feldenheimer Gallery. I'm torn between wanting to get my thoughts down while they're fresh, and longing to return to the space and write in the presence of the work. It's been several days since I experienced the show, at Watkins' gallery talk with a full house of fellow admirers. It deserves a more private viewing, and I'm determined to return, in spite of the coming onslaught of the TBA Festival and my own studio deadlines between now and September 15. (more…)
— Linda Hutchins, September 1, 2012 /
Sounds Surround Silence: John Cage's Empty Words
When John Cage performed Empty Words thirty years ago, I thought it called for a party. KBOO was broadcasting the twelve-hour performance live through the night; I hosted a slumber party to listen to it with my friends. In the years since, I've often wondered what we heard that night. I was still an engineer, still twenty-something. I had yet to go to art school, and yet to develop my interest in new music. What did my friends and I expect, and what did we miss—when, after an hour or so of dutiful listening, we turned the dial to something more festive?
I had the opportunity to revisit that experience last Saturday night, thanks to a recreation of the performance at Bard College's Fisher Center, WGXC's broadcast of that event, and the wonders of live internet streaming. I invited friends again, including two guests from my original party, plus another who'd spent an evening with Cage in the late 1960's. (I still see this as an experience to share with others.) (more…)
— Linda Hutchins, July 3, 2012 /
Whose voice? Will Holder at YU
Before this week, I knew nothing about Will Holder. I'd read YU's blurb and still didn't know much. So I went to tonight's performance at YU. In front of a youthful, beer-drinking audience (I was the oldest by an easy margin, and yes, I drank a beer), Holder spoke confessionally, pacing back and forth, gathering and rearranging his microphone cord, pausing (for prompts from the earbud in his right ear?), and speaking again. I tried to imagine that his words were not his own, were in fact written by someone else (Simon Amstell, about whom I also knew nothing). It was hard to imagine, and I gave up trying. Holder made it seem as if he was telling stories from his own life. That's what actors do. It's not what we think of publishers doing. (more…)
— Linda Hutchins, June 27, 2012 /
It's two days after the end of Mike Daisey's 24-hour monologue. I've been asking myself what this performance accomplished that wasn't possible or didn't happen in last year's shorter performance. The performance last year was so emotional, so powerful, it would seem there could be nothing to be gained. (more…)
— Linda Hutchins, September 21, 2011 /