2014 Workspace Program Residency catalog

dieu donnĂŠ Workspace Program

2014 Workspace Program Residency

Joseph Hart, Emily Noelle Lambert, Lael Marshall, and Tamara Zahaykevich

2014 Workspace Program Residency for New York State based emerging artists

Part 1: August 26 - October 3, 2014 Part 2: November 20, 2014 - January 10, 2015 Joseph Hart Emily Noelle Lambert Lael Marshall Tamara Zahaykevich With a focus on experimentation and collaboration, Dieu DonnĂŠ founded the Workspace Program in 1990 to provide emerging New York State based artists with the opportunity to explore hand papermaking and to utilize its processes to produce a body of work. In this unique program, artists work collaboratively with master papermakers, which is essential to providing artists an opportunity to create work in a medium that is outside of their traditional practice.

Top: Workspace Program Part 1: Joseph Hart & Tamara Zahaykevich installation view, Dieu DonnĂŠ gallery 2014 Bottom: Workspace Program Part 2: Emily Noelle Lambert & Lael Marshall installation view, Dieu DonnĂŠ gallery 2014

Joseph Hart My practice has focused on making works on paper that are rooted in drawing and painting. I utilize a variety of materials in my process to create pictures that examine spontaneous versus articulated mark-making and tense yet balanced compositions.

The results feel abrupt yet manage to achieve a bizarre and unexpected elegance that I find meaningful.

I’ve always considered paper a mere support, or the secondary surface that holds all the important stuff: evidence of touch, brush stroke, gesture, decisions and ideas. As I entered my Workspace residency, I was eager to rearrange this hierarchy for myself and uncover ways of prompting the paper into playing a primary role. Ceding control to the process and materials, the resulting works rely on traditionally pulled sheets of cotton rag, layered with manipulated wet pigmented pulp. Additionally, I created individual sections, or quadrants, that were later edited and assembled to construct a larger whole.

The top to bottom, bottom to top, inside out, backwards to frontwards nature of layering and couching the wet pulp was especially interesting. It was quite easy to loose my sense of direction, which like in travel, is at first frustrating but eventually yields to discovery and surprise. I gravitate towards settings and systems like this, where over-orchestration is discouraged, and improvisation, impulse and instinct are rewarded.

I’d like to thank my collaborator, Paul Wong, for his steadfast help and guidance, and for the overall support from the Dieu Donne staff.

– Joseph Hart

Originally from New Hampshire, Joseph Hart is a Brooklyn, New York-based artist. His work has been exhibited at Galerie Vidal Saint Phalle in Paris, Galleri Tom Christofferson in Copenhagen, Alexander & Bonin, CRG Gallery, Klaus Von Nichtssangend Gallery, and Halsey Mckay Gallery in New York, among others. Hart’s work has also been included in notable shows at the Bronx Museum of the Arts, Santa Monica Museum of Art and The Elizabeth Foundation for The Arts. He has been featured in periodicals such as FlashArt, Modern Painters, and The New York Times. Hart holds a BFA from the Rhode Island School of Design.

Images Top Left: Untitled (01), 2014 Pigmented linen pulp on cotton base sheet 60 x 43 inches Top Right: Untitled (06), 2014 Pigmented linen pulp on cotton base sheet 40 x 30 inches Bottom: Joseph Hart working in the Dieu DonnĂŠ studio, Spring 2014.

Images Top Left: Light Roar, 2014 Pigmented cotton and abaca, cast cotton, and monoprint on cotton base sheet 29 x 21 ¼ x 1 inches

Top Right: Itch, 2014 Pigmented linen and abaca, and monoprint on pigmented abaca 29 ½ x 21 ½ inches

Bottom: Emily Noelle Lambert pulp painting in the Dieu Donné studio.

Emily Noelle Lambert My work is about the state of flux and the conversation between sculpture, painting, drawing, and printmaking. Painting piggybacks on top of sculpture, while simultaneously guiding the prints. My interest lies in the language of the actions between color, shape, texture, and how the constructed conversation speaks. I want the work to have a beginner’s space of play, a space that allows me to move the work forward with curiosity.

The Dieu Donné Workspace Program provided a caldron for seeing my process in a microcosm. Each session was like an individual dance between myself and the material. I created molds out of scraps of wood and tried to mash the paper pulp into the spaces, draped bits of paper around fishing ropes, scraps of lace, and tulle. I was left looking at a multi-dimensional piece of paper that seemed to closely resemble a birthday cake iced by chaos.

Returning to Dieu Donné once the paper had been dried and pressed, and seeing how each piece transformed was always thrilling. The paper itself, a colorful hodgepodge, was now a stiffer version of the birthday cake. I determined more order was needed and I gave myself the structure of a grid confined within a two-dimensional plane to hang the work upon. Towards the end, we rehydrated some of the dimensional pieces and pressed them into the flat works, which transformed the surface.

I loved being in the space at Dieu Donné working with the vibrant pulps, tactile and slippery. As a beginner with this transformative process I had the chance to learn something new and filter in my own language through this form.

This was a process of swimming in the dynamic relationship between paper, painting and sculpture. I am grateful to the entire staff of Dieu Donné, particularly Lisa Switaliski who was my ring- leader, helping me tame my lions, and relight the flaming hoop for them to jump through.

– Emily Noelle Lambert

Emily Noelle Lambert received her MFA from Hunter College and her BA in Visual Art from Antioch College. Lambert has shown nationally and internationally including solo exhibitions in New York City at Lu Magnus Gallery and Priska Juschka Fine Art, Thomas Robertello Gallery in Chicago, and IMART in South Korea. Her work has been include in group exhibitions at the Ringling Museum of Art in Sarasota Florida, The University of Michigan in Kalamazoo, The Torrance Art Museum in Torrance, CA, Weekend Space in LA, and RH+Gallery in Istanbul. She has been awarded fellowships from The MacDowell Colony, Dieu Donné, the Lower East Side Printshop and Yaddo Foundation. Lambert’s work has been reviewed in The Brooklyn Rail, Modern Painters, The Washington Post, Art in America, and artforum. com. She is an assistant professor at Parsons the New School for Design and adjunct faculty at Fordham University. She lives and works in New York City.

Lael Marshall During my residency at Dieu Donné, I was mostly exploring the properties of the fiber abaca. I worked with it to make both sculptural pieces and flat works, and made many exciting discoveries in both dimensions.

I immensely enjoyed the physicality and direct handling of the wet material. As someone with no paper making experience, it was like trying to solve a puzzle, developing new strategies to manipulate and shape the fibers into ways that suited my aesthetic and temperament.

My work has always been driven by a strong interest in my source materials. Fabrics have played a large role in my practice over the past 7 years or so. I have been using fabric as a base to paint upon, and exploring its qualities as it stretches over 3-dimensional forms.

At Dieu Donné, I was very surprised and excited to find that I could use paper much like fabric in 3-dimensional works, and ways to use paper on top of fabric that mimicked applied paint. For example, in the case of the sculptural works, I found I could cut darts into a sheet of wet, pressed abaca and carefully wrap it over wooden armatures.

The places where the abaca over-lapped would adhere to one another, and with gentle pressing, nearly melt into one another. The paper tightened as it dried and found it’s final shape like a smooth tent spanning over hollows of the wood. The translucency and the strength of this fiber was astonishing! Abaca was everything I hoped it would be.

In the case of the flat works, I discovered a method of shaping pressed, wet abaca by sandwiching it between two sheets of tracing paper, and cutting it with a rotary blade. This technique allowed me to create precise shapes that I could easily handle and place with accuracy, on top of differently pigmented abaca, and/or together with other materials on cotton base sheets. Once pressed, the result was a fused, singular entity, and the cut out abaca shapes retained all of the precision of their sharp edges.

What a wonderful place Dieu Donné is, that encourages experimentation, and offers support and enthusiasm to individuals bringing their own ideas to an ancient craft. During my time at Dieu Donné I was working with new materials and in ways I had never known existed, and I thank my wonderful collaborator, Amy Jacobs, as well as the rest of the staff at Dieu Donné for offering me this thrilling and rare opportunity!

-Lael Marshall

Lael Marshall was born in Seattle, Washington, and graduated as Meisterschülerin from the Academy of Fine Arts in Munich, Germany. She currently lives and works in New York City. Her work has been exhibited in galleries and art institutions including Parallel Art Space, New York; The Visual Arts Center of New Jersey; The Riverside Art Museum, California; SNO, Sydney; ParisCONCRET, Paris,; A/B/C contemporary, Zurich; A3 Gallery, Moscow; and Beers Contemporary, London.

Marshall’s work has been included in 100 Painters of Tomorrow, a global survey of painting published by Thames & Hudson, London, 2014. Her work will also be featured in the forthcoming survey The Outlaw Bible of American Art by Alan Kaufman, Last Gasp Books, San Francisco.

Images Top Left: Bocana, 2014 Pigmented abaca on cotton dishtowl on cotton base sheet 30 x 22 inches

Top Right: Lael Marshall working in the Dieu Donné studio

Bottom Left: LIttle Buddy, 2014 Pigmented abaca on wood 6 x 6 ½ x 1 ½ inches Bottom Right: Marshall and Studio Collaborator Amy Jacobs layering sheets of abaca and textiles.

Images Top Left: Linda Wings, 2014 Pigmented cotton, linen, and abaca and powdered pigment 5 ¼ x 10 ¼ x 1 ½ inches

Top Right: Friend of Cacti, 2014 Pigmented cotton, linen, and abaca and powdered pigment 9 x 13 x 2 ¾ inches Bottom: The artist and Studio Collaborator Lisa Switalski removing a rubber mold.

Tamara Zahaykevich For at least 15 years I have been making objects primarily with foam, paper and paint. My hand is evident throughout the work; imperfect cuts and blobs of glue are part of my signature.

I have always had an interest in mold-making, and kind sculptor friends have guided me through the process. Unfortunately, this interest was often short-lived, as the results of these experiments were small failures. The materials I chose to cast yielded generic results, and there was barely any evidence of my hand.

Still, I decided to focus my residency at Dieu Donné on pressing paper pulp into rubber molds to make cast paper objects. I chose a wide variety of low reliefs made of foam and paper, the materials I most commonly use, to create the molds in advance of my days on the wet floor. Finally the patterns for the molds showed my hand.

Once my focus became clear, my studio collaborator Lisa Switalski and I got into a groove.

The materials provided for my use at Dieu Donne got me really jazzed up: colorful pulp paints, Ziploc bags full of brilliant abaca and cotton, shelves full of color-coordinated dry pigments including iridescents and neons.

I made paintings directly into the rubber mold by sprinkling in pigments, or mixing various colored paper pulps into a “cookie dough” and slapping that mix into the molds, and by squeezing pulp paints and brushing them into the mold. Meanwhile, Lisa would pull different colored sheets to line and pack the paintings into place.

At the same time, she was advising me technically every step of the way.

Since I was working backward, or inside out, the painting was intuitive. I could come to a piece with a plan, or wing it and let my hands do the thinking. Either way, the results were always a surprise. But what I was looking for… the evidence of my hand was always there.

I am full of gratitude to Dieu Donné for giving me this tremendous experience. Thank you, Lisa, Bridget, Louisa, Amy, Paul and Kathleen for the support and enthusiasm.

– Tamara Zahaykevich

Tamara Zahaykevich, born New Jersey, lives and works in Brooklyn, New York. She received her BFA from the Tyler School of Art in Philadelphia. Zahaykevich has had solo exhibitions in New York City, Chicago, and Amsterdam.. Her work has been included in group exhibitions at the New Britain Museum of Art, Columbus College of Art and Design, The American Academy of Arts and Letters, Bronx River Art Center, ICA Boston, and galleries in New York City, Chicago, Brussels, and Paris.The artist has received fellowships from the Edward F. Albee Foundation, the Pollock-Krasner Foundation, Marie Walsh Sharpe Sutdio, Chashama, Macdowell Colony, and Skowhegan School. Zahaykevich is represented by KANSAS in New York City.

Exhibitions 2014 Workspace Program Part 1: Joseph Hart & Tamara Zahaykevich August 26 – October 3, 2014 Reception: Thursday, September 4, 6–8 pm 2014 Workspace Program Part 2: Emily Noelle Lambert & Lael Marshall November 20, 2014 – January 10, 2015 Reception: Thursday, November 20, 6–8 pm

Dieu Donné Board of Directors and Staff Susan Gosin, Founder & Chair Marguerite G. Gelfman, Secretary Ken Hudes, Co-Treasurer Sylvia Shepard, Co-Treasurer James Selfe

Workspace Program Residency Established in 1990, the Workspace Program offers annual residencies to New York State emerging artists to create new work in handmade paper. The primary goals of this program are to encourage emerging artists to explore the creative possibilities of handmade paper and to develop this art form through a process of collaboration and experimentation.

The Workspace Program is presented to the public through an annual exhibition of works produced in this residency program, as well as through print, digital, and online formats.

For more information about the Workspace Program, or to learn how to apply, visit residencies.dieudonne.org.

Dieu Donné Dieu Donné is the world’s leading cultural institution dedicated to serving established and emerging artists through the collaborative creation of contemporary art using the process of hand papermaking.

Support for Dieu Donné

Kathleen Flynn, Executive Director Paul Wong, Artistic Director Desiree Adams, Registrarial Assistant & Art Handler Bridget Donlon, Program Manager Amy Jacobs, Studio Collaborator & Education Manager Lisa Switalski, Studio Collaborator & Production Manager

Credits Cover image: Emily Noelle Lambert working in the Dieu Donné studio, Summer 2014 Exhibition publication written and designed by Bridget Donlon, unless otherwise noted.

The artistic and educational programs at Dieu Donné are made possible with public funds from the National Endowment for the Arts, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, the New York City Department of Cultural Affairs in partnership with the City Council; and Foundation support including: Lily Auchincloss Foundation, Milton & Sally Avery Arts Foundation, Inc, Bloomberg Philanthropies, Cowles Charitable Trust, Foundation for Contemporary Arts, The Greenwall Foundation, Horace W. Goldsmith Foundation, The Minnow Fund, The Andy Warhol Foundation for Visual Arts and The Partnership Fund for New York City along with major individual support.

Dieu DonnĂŠ 315 West 36th Street New York, NY 10018 t 212 226 0573 f 212 226 6088 www.dieudonne.org residencies.dieudonne.org