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ART Habens

Jana Charl

until I began installing the stylized female forms did I discover nuances requiring repositioning and adjustments. Similar to stained glass windows, the penetration of light effected colors and levels of transparency. I played off of this by varying the types and layers of materials. Also, I strategically positioned components, such as the draping of fish nets, for intricate shadows effects across the floor. Upon viewing the second story installation from ground level outside, I noticed that the natural lighting didn’t penetrate very deep; the forms were opaque; and undesirable details were visible. All of which required alterations. Building the installation indoors freed me from dealing with the weather conditions; thus, I was able to sew lightweight pieces together with thread and secure in place with small nails. The exception was the dimensional buoyfishnet centerpiece which was suspended from steel beams and entirely formed with safety pins and fishing line. Moreover, for the unveiling of the installation and video documentation (, I collaborated with Miriam Donohue, an Irish musician who wrote, composed, and performed the song Einarsdóttir-The Fisherwoman. While brainstorming at the TrÊlex residency, I began hanging works-inprogress from the ceiling beams. I became fascinated by the subtle

Special Issue

23 4 05

Profile for ART Habens

ART Habens Art Review, Special Edition  

ART Habens Art Review, Special Edition  

Profile for arthabens