Meghan Q. McCook Capturing an Essence p.9
Tricia Rumbolz
the Perfection of Process p.4
and fresh off the presses:
Scott Wesley Band Dena Nord
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We create positive world change connecting authentic companies with real people in socially responsible ways. What can good design do for you?
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CONTENTS Volume 13 • August edition
Tricia Rumbolz t h e Pro ces s of Pe r fe c tio n
9
Scott Wesley Band B l u e g ra s s Roots
Meghan McCook Ca pt u r i n g a n Es s e n ce
Dena Nord M a k i n g It i n M i l wa u ke e
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7 3
Imagine spending an entire day, an unbroken 24 hours, creat-
Viewers can find themselves lost in trying to imagine what happened in between the hourly photos.
ing a work of art with a technique reminiscent of pointillism, and counting each dot as you went. If you can envision this, then you can begin to understand the commitment and borderline obsession it takes to create the work of Tricia Rumbolz. Her work is married with the process of its own creation; every piece reveals a unique mind-state and experience that the artist ventured into, and recorded for the viewer to contemplate.
Her processes are usually associated with
time in varying degrees; some incorporate the specific duration of time it took to create the piece in the title, and some only suggest the notion of time. For example, Rumbolz's
piece “1/4 Teaspoon White Powder, One
daily experiences over the course of 45 days,
Breath,” implies the single instant in time
with a picture taken at every hour between
in which the piece was created, and captured
6am and 9pm. During this time she was em-
forever. The white powder is spread across a
ployed refurbishing sailboats at a shipyard.
black, felt canvas in a scattering motion that
from afar, could easily be construed as
into wherever the artist was, and what she
a shooting star.
happened to be doing at the time. The result-
ing pictures are mounted on a wood panel
A Chicago native, Rumbolz is actively
Rombolz's photos give us a snapshot
producing art while working at a myriad
and are individually attached to a separate
of other positions, some which she draws
piece of wood protruding from the panel
inspiration from. A piece entitled “45
approximately 1/4". Each photo is 1" x 3/4",
Consecutive Days, 6am to 9pm” details her
and they are arranged in a grid over the 81"
ricia the perfection of process umbolz
r
173 Horizontal Lines
4
75,643 Dots, 12 Hours
150,012 Dots, 24 Hours
296,372 Dots, 48 Hours
67,685 Dots, 24 Consecutive Hours
x 23.5" panel. Each day is a column on the
large photo-documentary, “45 Consecutive
in this series she used a white paint pen on
grid and the rows represent each hour.
Days, 6am to 9pm” to a two-piece pair, each
a flat black background, and tallied as she
18" x 18" entitled “100 - 1/8 Inch Pieces of
made each dot that creates the final image.
with sailboats, personal moments in her
Scenes from Rumbolz’s job of working
Thread Dropped from 12 inch Height” and
The artist reports that although she has
home, snapshots from her car, and other
“100 - 1/8 Inch Pieces of Thread Dropped
attempted to work for 48 consecutive hours
scenes litter the landscape of photos.
from 48 inch Height.” These sister pieces
in the creation of a piece in the past, for this
Viewers can find themselves lost in trying
mirror her “1/4 Teaspoon White Powder,
series she worked non-consecutively, on the
to imagine what happened in between the
One Breath” in capturing a brief moment
account that 48 consecutive hours is trying
hourly photos. Her hourly breaks almost
in time.
on a person no matter what the activity.
even got her fired!
Rumbolz was recently exhibited at the
displayed in the show was a series of three
linois at Chicago with a BFA, Rumbolz has
David Weinberg Gallery in “Overlap,” which
works, created on 43" x 42" wood panels,
made a smooth transition into
featured two other Chicago artists: Beverly
and respectively titled “75,643 Dots, 12
the fine art culture of Chicago. Through
Kedzior and Stephanie Serpick. “Overlap”
Hours,” “150,012 Dots, 24 Hours” and
the David Weinberg Gallery, her work was
featured 10 of Rumbolz's pieces. These works
“296,372 Dots, 48 Hours.” These three
displayed at the 2009 Art Chicago fair.
range in medium, size, and scope from the
pieces employ her pointillism technique;
“173 Vertical Lines” was purchased there by
Her most impressive production
Graduating from the University of Il-
c o n t i n u e d o n p a g e 10
5
2,987 Colored Rectangles (Detail)
Artist’s Statement
continued from page 9
Exploring the interaction between time,
a well-known art collector, Cleve Carney.
the panel. With this piece, she achieves the
energy, and material form as it relates to
Carney is the Executive Vice President of
portrayal of imperfections in the motion of
my particular physiology is a primary
the Elmhurst Art Museum, and has made
her hand as she creates the lines. With each
artistic focus of mine. Simplistic
several generous donations to the commu-
undulation her hand involuntarily creates,
gestures, minimal shapes and clearly
nity, including the DuPage Community
she attempts to follow that imperfection in
defined working parameters are used
Foundation and the Dartmouth arts
the consequent lines. From a distance, this
in an attempt to remove subjective impli-
community.
piece gives the impression that the lines are
cations. I employ repetition because
string, or something of a three-dimensional
it effectively reveals subtle shifts and
black panel, and it was created by beginning
quality.
undulations that are directly propor-
with a single, perfectly straight line run-
tional to the amount of time and energy
ning the length of the 71.5" x 30.5" panel.
artwork, but she can be found online. Also,
spent. It is also a way to illustrate these
Rumbolz completed the other 172 lines by
her work, although not on display in the
ideas from a simultaneously microcos-
hand-drawing consecutive lines in close
current show, can still be found at the David
mic/macrocosmic perspective, and gives
proximity to each other across the width of
Weinberg Gallery.
me an opportunity to examine the relationship between an individual unit and the sum of it’s parts. These subjects are suggestive of the work’s intrinsic connection to nature, which I continually strive to maintain and understand.
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45 Consecutive Days, 6am to 9pm (Detail)
“173 Vertical Lines” is also drawn on
Rumbolz does not have a web site for her
“I employ repetition because it effectively reveals subtle shifts and undulations that are directly proportional to the amount of time and energy spent.”
Scottesley WBand Bluegrass undertones
Inter
iew
Q: Why did you decide to form a band? A: I started a band because I really just love to write music and perform it. It’s my whole life. It’s not just a hobby for me. I really want to pursue it as my career and the best way to do that is to go out and play as often as possible.
Q: How did you become the Scott Wesley Band?
mix with rock and reggae to give the Scott
He produced his first album, “Open Eyes,”
Wesley Band a refreshingly unique sound.
receiving national critical acclaim. He is now
A: It started my freshman year of high
They can be heard playing originals and
represented by Jeff McClusky & Associates,
school when I started my own solo project
covers featuring the music of bands like the
who also have worked with artists including
in my studio in my basement. I called my
Beatles to the Grateful Dead. The practiced
Rolling Stones, Paul McCartney and U2.
self Scott Wesley because there is actually
harmonies work beautifully together to emit
a Scott Holt out there already. I wrote a
a sense of happiness and positive energy.
on Facebook, and more information about
bunch of songs, made a full album and then
The name-sake of the band, Scott
The Scott Wesley Band can be found
Holt can be found at scottwesleymusic.com.
eventually wanted to start doing some gigs.
Wesley Holt, began following his passion for
Members of the band will be performing
So I then asked some friends/musicians if
music seriously in high school, when he was
every Sunday night at the Oasis Cafe hookah
they would want to back me up to do some
signed to a local indie label, Four Winds.
bar in West Chicago.
live shows.
continued on page 8
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See the Scott Wesley Band on September 5 at 7pm at the Taste of Melrose Park Festival! continued from page 7
Q: Who are the other members of the band
eventually and just make enough money to
A: We have played at tons of different
and some background information on them?
be able to support myself one day down the
venues. I would say we have played over 100
road. I’m not exactly looking for stardom
different venues and hundreds of shows. We
and fame and be at the top of the charts, but
have done things like graduation parties, ca-
I would love to just spread my music to as
fes, and county fairs to actual music venues
many people as possible.
in Chicagoland. Recently, I played the most
A: Honestly, right now I don’t really have any permanent members in the band. I basically have been playing with anyone who is willing to play with me. At the very moment I am playing with a long time friend Nick Visi (bass player) who I have been jamming with ever since my early high school days. My last drummer just went off to school in Montana, so I’m searching for a drummer.
Q: Some background information about yourself?
A: I started playing piano and writing songs when I was 6 or 7. I started playing drums for a few years and eventually moved on to guitar. Music has been my serious passion ever since I can remember.
Q: When did the band start playing together? A: My most recent drummer, Gavin Ninow, and I have been playing together since I was a sophomore in high school and we played together until a few months ago, so about 5 years. Besides that I have gone through 4 different bass players and a couple different guitar players. All together I have been doing the whole Scott Wesley thing for 5 or 6 years.
Q: What is your mission, or goal? A: I really would like to start touring
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Q: What kind of music do you play? A: I would categorize my music under the rock/pop genre. It often goes through a lot of different phases depending on the other
outrageous show I to date, we were behind the check out counter in a record store. It was hilarious.
Q: What are the future plans for the band?
musicians I’m playing with and
A: Set up a tour, keep on writing music and
the direction they hear my music going in.
keep on performing. Basically just keep on
Q: What kind of venues have you played?
pushing the envelope until we are all content with where we stand as a band.
capturing an essence Passionate is the work of Meghan Q. McCook. She
teaching to complete her Craft Degree as well. McCook says she feels
is an artist and an educator who has found her perfect niche in the
lucky to have this formal, educational training in glass because she
Chicago culture. As an artist, she creates functional and sculptural
got to learn from other professional artists.
glass art at the Chicago Sculpture Works studio in the West Loop,
and blown glass at various glass blowing studios, most recently in
and explore her vision of glass art. She has exhibited her work in
Racine, Wisconsin. As an educator, she is the Educational Coordina-
several cafes and art and craft fairs in Champaign-Urbana as well
tor for the David Weinberg Gallery in River North. She works with
as small galleries and cafes around Chicago.
children to young adults in helping them to understand the purpose
Since graduating, she has been working constantly to improve
In the summer of 2006, McCook ventured to start-up a business
and the goals of fine art, as well as the role it plays in society.
for her artwork: Glashjärta Glass, which translates to “glass heart” in
Swedish. Glashjärta has been successful for McCook, and has
McCook graduated from the University of Illinois at
Champaign-Urbana’s School of Art and Design in 2001 with a dual BFA in Art Education and Crafts with a specialization in
allowed her to begin to make a name for herself. McCook works out of a studio owned by Jim Brenher who rents
glass. She was on schedule to graduate in 2000 with her Art
5 smaller spaces within the studio to other artists, and has one space
Education degree, but in the first semester of her last year she
for visiting artists who can use the space for short amounts of time.
finally got into a glass blowing class, which had filled up too fast
McCook’s functional art takes the form of jewelry, blown vases,
in the past for her to get in. It was this class that changed her life’s
and ornaments. Her sculptural work includes wall hangings and her
path; she fell in love with glass and decided to put off her student
Terrahives, hanging glass containers for plants called tillandsias. The
c o n t i n u e d o n p a g e 10
9
It was this class that changed her life’s path; she fell in love with glass and decided to put off her student teaching to complete her Craft Degree.
Terra Hive 4 (Detail)
Terra Hive 5
Terra Hive 1
Terrahives, shaped like bulbs, are suspended
in Chicago including Marwen, 826 CHI,
gallery. There are three different programs
from wire that wraps itself around the form
and Noble Street Charter School. Marwen
offered with varying focuses. One is called
before coming together at the top to act as
and 826 CHI are not-for-profit organiza-
Focus and is open to elementary through
the suspending support. McCook achieved
tions whose goal is to supply opportunities
high school aged groups. Focus includes a
this affect by creating the wire mold first,
to students who want to pursue artistic
tour of the gallery, a discussion of the cur-
then blowing glass into the mold.
expression. As is the case with a majority of
rent artwork, and an art making workshop
inner-city schools, there is a lack of funding
inspired by the displayed artwork. The next,
on her jewelry. She uses the techniques of
to provide an adequate art program, and
Gallery Exploration, is open to any school,
fusing, casting, forming and slumping to
these organizations work to supply students
college or educational group and includes a
create her work at the studio. Whenever
with the opportunity they deserve. McCook
tour of the gallery, discussion of the artwork,
possible, she travels to “hot shops” or glass
works with the gallery’s owner, David Wein-
the goals and roles of artists in the art world,
blowing studios to rent time to create blown
berg, to supply a student with a scholarship
and the role of a gallery. The third program,
glass pieces.
every year. The past two years, the gallery
Get Critical, is also open to any school or
has awarded another promising young artist,
educational group and includes a tour and
ing with her art as she does with students.
named Marta, with a scholarship to pursue
an in-depth group analysis of the artists and
Not only is she the Educational Coordina-
her photography. Marta will be attending
their work. Meghan can be contacted at the
tor for the David Weinberg Gallery, but
Columbia beginning in the fall of this year.
David Weinberg Gallery Tuesday – Friday at
through this position she has also become
312.529.5090. Her glass work can be viewed
involved with several educational programs
Programs for students of all ages at the
continued from page 9
10
Currently, McCook focuses mostly
McCook spends just as much time work-
Meghan also hosts free Educational
on her website: glashjartaglass.com.
Inter
iew
Q: What influences your art? A: My art is influenced by my life — I am constantly seeking out new information; I
around; I have been since I got into glass 10 years ago. I’m very intrigued by the simple yet sophisticated form and colors that you find in Swedish glass.
Q: What are your future goals?
am constantly stimulating myself with read-
A: My future goal is to eventually be full
ing; I love music; I love to cook and garden;
time; I was full time for 3 months before I
I’m also love teaching. It might seem frag-
started working at the gallery. Then I got
mented but all those things coexist. What
pulled into the gallery, which has been
I’m interested in exploring and expressing
a fabulous, great experience so I’m not
tends to be inspired from the world around.
complaining about that; but eventually I’d
For me it’s geared a lot towards nature, sci-
like to be doing [my art] full time. I’d like
ence, form, function and process. I’m really
to continue doing my functional work, [but]
interested in taking the world around me,
it’s really important for me to start focusing
jumbling it up in my mind and spitting it
more on my sculpture because right now,
back out. I’m also fascinated by Swedish
especially with working at the gallery, I feel
glass, art and design, and the culture all
like I spend a lot of time and energy on that. Cicatrix
c o n t i n u e d o n p a g e 15
Artist’s Statement
There are numerous conflicting and contrasting qualities held in the medium of glass.
Glass can be loose, fluid, and organic and in the same breath, heavy, harsh, or stagnant. Using these known qualities of glass, my work is inspired by observations made of forms, textures and patterns found in the natural world, from a micro to macro level.
I focus not only on surface textures and colors, but also interior textures, colors, and
spaces. The use of other media such as photography, metal, wire and wood, compliment and contrast the smooth and often shiny tendencies of the glass.
The fluid, sensual, and calming qualities of my work come from an intuitive sensibili-
ty of the material and it’s possibilities. I am very interested in the similarities between the nature of glass and the nature of the human condition. I am fascinated by the memory left behind in touched glass.
Treatment of the glass as a skin is evident of my process, and created through surface
manipulation and scarring of the glass. I approach much of my work by exploring the relationships between memory, reality, personal histories, and physical tangibility. The awareness of the intimate relationship between my art and the viewer never escape the Cicatrix (Detail)
ultimate solution and realization of any problem I approach.
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With outstanding
and unlimited creativity and the personality
to match, Dena Nord is a promising graphic
Her use of color exemplifies the goal of
Dena’s design work is clean and elegant.
designer with big plans to unveil to the art
the work, and is powerful without be-
world. Dena resides in Milwaukee, where she
ing overwhelming. Her logo designs use a
graduated with a BFA from the University
unique personal touch rooted in her painting
of Wisconsin, Milwaukee through the Peck
techniques that brings a refreshing sense of
School of Arts. It was here where she refined
individuality to the design. Below are two
her skills in the fine arts, concentrating on
pages from a layout Dena created discuss-
traditional and mixed medias, acrylic and
ing a local design firm to Milwaukee called
oil painting, as well as photography. When
Planet Propaganda, as well as a poster adver-
she began taking courses in graphic design
tising an AIGA event.
her true calling came to bloom. With an
extensive portfolio and experience in such
she worked at the Peck School of Arts intern-
programs as Illustrator, Indesign, Flash,
ing for the newspaper, and working with the
Dreamweaver and After Effects, this woman
advertising department. By senior year she
can do it all!
held the position of advertising manager, and
During Dena’s four years with UWM,
A dozen apples for a ceramic bowl; a brochure for new cabinets; a jump rope for a pack of gum; the possibilities are limitless, and completely left to the barterers to decide and establish.
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DN
a e ord
Making it in Milwaukee
was responsible for the layout and placement
produce a new line of painting tools called
setts on the east coast, Barter Market would
of advertisements, and conversely the income
Scumbles. These painting tools are used to
be a gathering place for individuals and busi-
for the newspaper.
create textural patterns commonly used in
nesses alike, where items and services would
Dena also served as the fund-raising
artwork created in Photoshop. They are simi-
be traded and exchanged without the use of
coordinator and later the vice president for
lar to paint brushes, but replacing the bristles
currency. A dozen apples for a ceramic bowl;
the student chapter of AIGA Milwaukee.
is a plastic pad with a texture embedded
a brochure for new cabinets; a jump rope for
Their monthly meetings, arranged and lead
into, or protruding out from it. This pad is
a pack of gum; the possibilities are limitless,
by Dena and the president, were focused on
connected with a flexible spring, so the artist
and completely left to the barterers to decide
bringing art students into the real world, and
can apply it quickly and precisely, or impre-
and establish.
making the connection reciprocal. She held
cisely as desired. These can then be washed
this position her junior year during which
by hand or just tossed in a dishwasher.
a parts supplier out of Milwaukee. She is
she contributed designs and concepts for new
doing web and print work for Neutool and
and inspiring events.
Markets onto the streets on Milwaukee.
preparing her personal work on her own
Also, Dena aspires to unleash Barter
Dena is currently employed by Neutool,
Through conceptual design classes,
Similar to methods that have recently been
time. Neutool provides car parts to such sup-
and inspiration found in her own painting
adopted across the world, and specifically in
pliers as Auto Zone and they just released a
endeavors, Dena conceived and proceeded to
California on the west coast and Massachu-
new website developed by Dena.
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Where are they now?
Doug Bosch Bosch had earned his BFA in photography from the Columbus College of Art & Design in 1989. Since then he has switched gears, receiving his MFA in sculpture from Yale University in 1992. He is now teaching at the Rhode Island College and has been shown in four fine art exhibitions.
Chandelier Swarm
Jennifer Scott McLaughlin McLaughlin had graduated in 1996 from the School of the Art Institute in Chicago, and has since gone on to sell her works to private collectors and museums, such as the Museum of Contemporary Art in Fort Collins, Colorado.
Specimens at Sunset III
Stephanie Serpick Serpick had achieved a Bachelor of Fine Arts at Carnegie Mellon University and has since then achieved a Master of Fine Arts from the University of Chicago 1996. She is now working as a graphic designer and a fine artist in Chicago.
So Unprovided
David Burdeny In 1993 Burdeny graduated with a Bachelor of Interior Design from the University of Manitoba. Since then he has gone on to achieve a Master of Architecture from the same school, and been named the Nature Photographer of the Year and become faculty at his university.
Pearl Beds, Japan
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c o n t i n u e d f r o m p a g e 11
So I have only had time to focus on my
it’s been, ‘I want to have a studio, so how
jewelry and my functional work. Sculpture
do I pay for it?’ I have been selling my work
has always taken me a lot longer to work on;
so I can survive as an artist, just to purchase
it’s a different thought process. I really have
materials, supplies and the tools you need.
to incubate ideas more with my sculpture; I
Every year I’ve been buying something.
think a lot more. Some day I’ll have a bigger
Last year I bought a kiln and this year I
studio, I’ll have more kilns and I’ll be put-
bought the belt sander. I have a lot of sup-
ting out more. I’d like to have a show every
port from my husband and our ultimate
two to three years; to have a body of work,
dream is to be able to have a great urban
whether it’s some work from the past or not.
atmosphere that constantly stimulates us
Q: Where do you see yourself in 5-10 years?
and gives us ideas for expression. Also, [I
A: My dream goal is to have a studio in
have a place out in the country and get away
the city and a studio out in the country.
and make art because it is what you want
My dream is to keep on the path I’ve been,
to do and not because somebody wants you
taking baby steps. Each year I do a little bit
to make a certain kind of art, or because it's
more to add to my goals; the past couple
what’s selling.
want] to be able to slow down and focus and
Cobalt Blue
Lace & Veins
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o l i i k ka . m u R e k . a m M l Ru e W Rea y esda
edn her’s W y ver al Mot ys! e s a u in Join e Orig ednesd ials at Th Band W ai spec m. ock 5 Kilo K m – 2a R r fo y $ rom 9p o j n f E
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