POOLS OF FIR CAITLIN MACBRIDE
GRIN
"We treat desire as a problem to be solved, address what desire is for and focus on that something and how to acquire it rather than on the nature and the sensation of desire, though often it is the distance between us and the object of desire that fills the space in between with the blue of longing." -Rebecca Solnit
POOLS OF FIR CAITLIN MACBRIDE
Presenting a collection of new works, MacBride seeks to define the point at which identifying qualities of a given object can be altered until only a pure or defining moment of interest remains. As the objects, often artifacts from museums or private collections, are stripped of their topical aesthetics, MacBride reinterprets silhouettes, scans, and closeups into often monochromatic compositions. Objects are discernible, but their ambiguities are susceptible to discovery, allowing for ever-flowing revelations. "This body of work is a series of paintings and photos investigating fragmentation and the study of desire. I'm curious about the way fragments can be understood as a whole... the way disparate elements are joined to construct a series of possibilities. In this way the distance between pieces becomes an examination of desire. I'm interested in painting as an archeological site for moments of longing. By cropping and reframing moments I decide where the moment of desire exists. My practice has been primarily as a painter for my last nine years in New York. I am currently focused on a body of work that studies both intuition and the transformational interpretations of objects. I'm interested in the way these works can perform a monologue for two, the object and the subject.
My practice engages an overlap
between the object of object relations and the literal object, an inanimate something, put on a table and observed. My recent paintings employ the gathering of affective movement via a process of viewing, drawing, and painting displays of fabric and archeological remnants. The process of still life painting is scattered and reframed in new formats. The fragments play a role as a solid point of departure that then leads into a place of personalized improvisation." -Caitlin MacBride
Halberd 1 | Oil on Canvas | 2016
Pattern 1 | Oil on Canvas | 2016
Pattern 2 | Oil on Canvas | 2016
A CONVERSATION BETWEEN CAITLIN MACBRIDE AND AMY BEECHER ON THE OCCASION OF POOLS OF FIR Amy Beecher: In your writing about
so concrete right there in front of
your own work you refer to still life as
you. It’s a tool. And I'm very inter-
a genre from which you depart. How
ested in the concept of tools.
do you employ or reject the conventions of still life in your process and
This is part, also, why I chose to
in your paintings themselves? I find,
paint fabric so often. It’s like the
in my own work, that categorizing
ultimate
and naming the more ambiguous
objects
objects
a
but can become three dimensional.
podcast....this is a collage..." can
And of course it’s loaded histori-
create
cally in painting... but for me it’s
that
I
make
boundaries
"this
within
is
which
a
blank go.
slate
It’s
very
as
two
simple
far
as
dimensional
creative decision making arises. Is
just
handy
object
this part of your strategy?
when I get lost. I can put it in front of me and paint.
Caitlin MacBride: Yes,
totally!
think
I
in
some
ways
I
employ
Even though genre is sort of my
genre in the same way I chose
control
painting. I may flow out of painting
when it flows into something else.
from time to time and into photog-
Sometimes
raphy
still
or
sculpture
or
drawing....
life
in
the
experiment,
when the
I'm
I
like
painting
shapes
and
a
color
but I'm primarily a painter. I think
choices end up reading more like
when I realized one could identify
a landscape. Even with something
as a painter I felt more free.
as
firm
as
making
a
still
life,
because of these other factors Thinking about genre gave me the
intuition and improvisation, it can
capability
to
become something else.
focus
some
on
quiet
my
sort
mind
of
and
organiza-
tional strategy to painting. I think
The thing that I love most about
because
I
in
still life painting though, is that it’s
matters
of
am
so
interested
erotics,
a very close dedicated study. To
instinct there had to be some sort
really look and search and analyze
of
intuitiveness,
hang
an object is to dedicate yourself
these fluid messy feelings on. With
to it. This structure of genre gives
still life painting there is something
me a place to care and to delve
structure
that
I
could
into
the
place
of
devotion
and
a lot of galleries growing up, but
focused adoration. I'm very into the
my
investment that that asks of me.
museum (no kid can resist that
mom
took
me
to
the
RISD
big Buddha). AB: Many of the objects that you paint are taken from photographs of
Another museum that had a huge
objects in the Metropolitan Museum
impact
of Art's archive. It seems that institu-
Museum in Norwich, Connecticut.
tions (The Metropolitan, The RISD
It
Museum here in Providence) have
The Norwich Free Academy and
taken a renewed interested in how
was
artists interpret and use their collec-
museum
tions. Why, in our current moment, do
from original Roman, Greek, and
you think museums are investing in
Egyptian statues. This was how I
the artist's interpretations of their
learned
collections? What is your relationship
studies of the Laocoon and the
to the Met's archive? How do you
Discus Thrower. The museum is
use/misuse it?
amazing,
on
was
me
part
built
is
of in
my the
includes
to
the
Slater
high
school
1850s. casts
draw,
doing
beautiful
The made
charcoal
high
ceiling
and exposed wood rafters. They CM: Oh wow I hadn't even thought
have Samurai outfits and a huge
about the RISD museum! But that
cast of Nike (Winged Victory) and
makes
all sorts of relics of early New
was
so
at
much
RISD
I
sense. took
When
a
class
I on
England Americans.
Andy Warhol and we learned about his show "Raid the Icebox" at the
A few years ago I went to Rome
RISD
and
museum
in
1969.
The
de
saw
many
of
the
original
Menils organized this show where
statues. They're so epic, marble
Warhol went through the storage of
really glows. It made me want to
the
go
RISD
works
museum
-
shoes,
and
selected
chairs,
pottery,
and
back
to
see
the
these
Slater
museum
bizarre
antique
blankets, a tree from the courtyard.
casts of the originals. The Slater
He
ultimately
ended
up
statues have lines all along the
the
cabinets,
racks,
and
that
are
used
in
including shelves
storage
in
his
bodies
from
display of selected objects in the
in
museum. I love the preciousness of
ridiculous
displays
in
museums.
molds.
the
Victorian
age
they
precautions
took about
a
nudity. Fig leaves cover the genitals- and this is the best.... there
background,
are
are
as
casting
kid, and from a fairly working class museums
And
the
Also since the museum was built
your
gateway drug to art. I didn’t go to
nobs
all
over
the
museum
from where curtains were hung to
keep
one
from
seeing
too
much
nudity at once. I love picturing the
desiring, and what role does your viewer play in this dynamic?
space with these big velvet Victorian curtains all over.
CM: I think this has a lot to do with the matter of "giving a shit."
So I went back and did a photo
I decided a few years ago that I
series. Close looks at the bodies
was
of
cheek,
the
marks.
statues
and
I
photographed
also
their
casting the
this
their
sculptural
ironic,
this
tongue
negativity
in
that
I
amazing
conversation
with
and
Amy Sillman my first year in grad
for their ghost-like lack of curtains
school where she pointed out that
and rods. The gallery Chapter NY
a
published
careless
a
book
qualities
with
was seeing in so much art. I had
nobs all over the museum, both for own
done
of
the
photos
lot
of
that
mentality
and
flippant
-
being
with
your
last spring and I've been slowing
work
showing the photos in various exhi-
place of stability. When you are
bitions.
secure
comes in
standing
in
from your the
a
privileged
position, world,
you
your can
Oh and The Met! One could spend
make things into a joke. But as
one's
someone who identifies as "other"
life
in
there.
A
lot
of
the
objects I paint are from The Met's
-
collection.
female, a person of color, a poor
I
love
their
online
whether
because
archive. I love typing in "tools -
person,
a
metal" or "bonnets" or "chairs" and
disabled
person...
spending
a just
struggling to have a place in the world. To be taken seriously can
graph things for the archive is so
be difficult and you are generally
clinical,
not eager to have your position
The
like
Sometimes
way
evidence it
doesn't
at
are
what
have.
looking
person, you
are
photo-
they
hours
queer
you
they in
a
trial.
translate
to
undercut. I could be totally misin-
becoming a painting but I'm always
terpreting or misremembering this
trying to figure out how it can.
conversation... but it’s the concept that stuck with me.
AB: In your own writing about your work you describe the objects that
I
you paint transforming into "self-ob-
emotionally invested, that I would
jects," through the erotic process of
be
painting, a process that may be as
work, one where I nurtured and
important to you as the painting itself.
fed and challenged it to be stron-
Why is it important to you to frame
ger and more authentic. For me
your work in terms of the erotic or
thi s ha d a lo t t o do with th e
decided in
a
that
I
would
relationship
be with
fully my
Pattern 3 | Oil on Canvas | 2016
concept of the erotic or desire. That
fullness and pleasure of looking.
I long for something and therefore I am. There is this amazing essay by
There
Rebecca Solnit that I quote for this
Elaine
show
and
at
GRIN.
She
explores
the
is
this
amazing
Scarry
called
Being
book
"On
Just"
by
Beauty
where
she
concept that the space of longing
explores the idea of "opiated adja-
and
a
cency". This is the kind of feeling
space itself. That that space is valid
you get from being in the pres-
and fruitful.
ence of something beautiful or spe-
reaching
for
something
is
cial, which can happen with art. The concept of the self-object has
Scarry delves into this idea that
to do with narcissistic transference,
relating to something in that way
putting ones adoration on an object
takes one out of self-preoccupation
because it relates to the self. You
and creates an affinity with some-
actually might know more about this
thing outside the self. In this way
than me, Amy. Remember when we
we can have a more visceral rela-
read that book “Fantastic Realities�
tionship to "the other"... to some-
about Louise Bourgeois and got all
thing that is not ourself.
obsessed with the concept of objecthood? I figure, if I can have some
I think I'm interested in portraying
sort of transference with the object
a
and
and
some ambiguity and androgyny to
desire, then that will create a stron-
its erotics. I love those old Greek
ger painting and be ultimately more
and
rewarding for myself.
reason.
give
it
my
full
attention
viewing
relationship
Roman The
Museum
that
statues casts
are
for
at
strange
has
the
that Slater
replications
AB: The inclusion of photographs in
and yet carry all this erotic weight.
your exhibitions suggests that this
By taking close up detail shots I
erotic dynamic is not tied to the
was
process of making a painting, but may
eyes edited the bodies and space
exist in the act of looking itself. Does
they inhabited. I could edit them
that ring true to you?
down
able
to
to
their
show
most
the
way
basic
my
fleshy
plaster movements. CM: Totally! I mean I guess the idea of the "male gaze" vs. the "female
AB: Audre Lorde describes the erotic
gaze" is very "Feminist Art History
as permeating all of her life, as a
101". Yet, I believe there is power
powerful thread that helps her resist
in looking and I want to at least
normativity. Do you find that, after
share that power. Art, in general,
you have made your paintings, this
has so much to do with the
broad definition of the erotic can or
distribution and Rshould O S S drive N O Rtheir MAN DIN presentation?
to be because someone feels that "opiated adjacency" and just wants to be near it.
CM: I love that text by Lorde "Uses of
as
AB: We first met in the same feminist
Power". People say that power is
the
Erotic:
reading group. Are these feminist
sexy but I've never really identified
paintings, paintings made by a femi-
with
nist, both, or none of the above?
that.
The
That’s
Erotics
some
capitalist
propaganda shit. However I do think that there is good power in embrac-
CM: Oh man, I remember talking
ing the erotic as a place of fruitful
about this so much in that group!
creation. That’s the kind of power I
I'd say of course they are feminist
can get behind.
paintings, because I am a feminist. I
Lorde wrote:
think
people
can
get
bogged
"The erotic is a mea-
down in the semantics and history
sure between our sense of self and
of feminism and I like to keep it
the chaos of our strongest feelings.
simple.
.....Within
the
personally I hold myself to a kind
erotic in all our endeavors, my work
of feminism that strives to resist
becomes a conscious decision - a
all forms of domination ... for me
longed-for bed which I enter grate-
being
fully
equality for women and men but
and
the
from
celebration
which
I
of
rise
up
empowered."
It’s
a
about
feminist
equality.
means
not
Also
just
equality across gender, race, class, and
all
other
positions.
Reading
She's talking about how refreshing it
bell hooks was one of the most
is to be in your body. To own your
important parts of my development
decisions.
of
as a feminist. She writes as an
chaos and a place of decision and
intersectional feminist about domi-
a
nation and also importantly about
sense
That of
there
is
discovering
place oneself
in
the space between.
solutions.
Honestly I think I'm still figuring out
I wonder a lot about how works
how this relates to my work outside
of art fit into a political dialogue.
the studio... to its distribution and
Yet, I think the process of thought
presentation. I'm still grappling with
itself is a political action. Also for
its relationship to other viewers and
me, this process of nurturing and
I think I'll spend the rest of my life
attending to a practice of thought
wondering about the way a painting
and creation is political.
or photo becomes appealing enough for someone to buy. I'd like for it
I recently saw the painter Robert
Bordo talk about his works in Great-
many amazing artists.
er New York. He discussed being a painter in the early 90s during the
Also you have such a good point.
AIDS crisis. It was rare to be politi-
Often times I paint fabric which is
cally
really
engaged
and
be
a
painter
more
about
hiding
flesh.
then, but he was doing it. His work
What’s behind the fabric? Also my
at the time had a lot to do with
photos are about what is exposed
silence and intimacy. The fact that
and what is viewed. What is pub-
he was making work and living was
licly
huge. I relate so much to the power
there's some sort of love relation-
of silence and intimacy. Sometimes
ship
one can make an enormous impact
shake and I just keep coming back
with the smallest of gestures.
to it.
put with
on oil
display? paint
For
that
I
me can't
Amy we've gotta talk books when I see you next! I want to know what you're reading! AB: Reading your thesis, I was struck by your brief but insisting assertion that "the true purpose of oil paint is to paint flesh. Only in flesh does it reach its highest potential." Given that your oil paintings are rarely of flesh, how does this understanding effect your work? CM- I
believe
that's
a
DeKooning
quote. Historically oil is beautiful for
ABOUT AMY BEECHER
building up skin tones. It’s similar to
Amy
how
shine
living between Providence and New
through it and therefore looks more
York. She creates immersive instal-
realistic.There are so many reasons
lations,
I
marble
felt
drawn
allows
digital
is
a
prints,
visual
and
artist
audio
sculptures. In 2013 she founded a radio show focusing on discursive
death
interviews with artists and cultural
Painting
died
so
and many
idea.
Beecher
The
painting"
that
to
religious overtones to painting - "the of
to
light
its
rebirth.
times
by
producers, Amy Beecher's Podcast!
now, it’s like necrophilia to be in love with it. Yet, it just keeps being
www.amybeecher.studio
reborn consistently in the work of so
www.amybeecherspodcast.com
Slater 1 | Digital Print | 2015
Slater 2 | Digital Print | 2015
Front: Comb | Oil on Board | 2016
CAITLIN
MACBRIDE
Caitlin MacBride lives interest in the subtext of work considers not puts as much weight blanks.
and works in New York, NY. Continuing her of the archeological remnant, her current body only the information that is provided, but also on what is missing—a desire to fill in the
MacBride’s work has been exhibited at Chapter NY, Real Fine Arts, Greene Naftali, Zach Feuer and Green and Nostrand. Her work has been written about in The New York Times, ArtForum, Modern Painters, and New York Magazine. caitlinmacbride.com
SELECTED
BIBLIOGRAPHY
"Residents of Fishers Island Seek Artists for Neighbors", New York Times, Emily J. Weitz, October 2015 "Review of 'Ramping At The Bit'", ArtForum, Paige K. Bradley, April 2015 "Review of 'Ramping At The Bit'” Modern Painters, April 2015
GRIN GRIN is a contemporary art gallery located at The Plant in the historic Olneyville District of Providence, Rhode Island. Directed by Corey Oberlander and Lindsey Stapleton, GRIN was founded in 2013 as a space for artists to develop and exhibit their work with a steady curatorial hand. Our intent is to develop an intellectually demanding yet aesthetically pleasing program, focusing on emerging artists working across mediums. Our hope is to stimulate fresh dialogue while continuing to promote the development of the local creative community. Our mission is to support the careers of underexposed artists with a devotion to craft and conceptual advancement. grinprovidence.com
CONTACT 60 Valley Street, Unit 3, Providence, Rhode Island 02909 e. contact@grinprovidence.com p. 401 272 0796 Open Saturdays 12PM - 5PM by announcement, appointment chance.
and