Space Invaders

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SPACE INVADERS


January 16 – April 21, 2018

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STEDMAN GALLERY RUTGERS UNIVERSITY CAMDEN


SPACE INVADERS INVADE THE STEDMAN

I am delighted that the space of the Stedman gallery has been invaded, not only because it allows me to make very bad puns, but because Space Invaders mobilizes the space of the gallery for sculpture. Before assuming the responsibilities of the position of director of Rutgers-Camden Center for the Arts in 2011, I made sculpture, and, as with most practitioners of the arts, saw sculpture as a privileged way of occupying space. Even the most pictorial of works in the current exhibition lean towards being an the object and having the properties of the three-dimensional, the major building blocks of sculpture. As the planning of the exhibition moved forward under the steady eye of the guest curator Leslie Kaufman, I had a difficult time visualizing the work that the artists were preparing for the exhibition. The work was being produced—I’ll use the more elegant term since it is a rare and happy occurrence— commissioned for the exhibition and would not be ready until the show opened this past January 16. Leslie had the advantage of having already worked with (most of) the artists, on the Artship Olympia, the only surviving naval warship from the Spanish-American war, now moored at Penn’s Landing where the Independence Seaport Museum maintains it. There the artists took up the challenge of creating work for very intimate and challenging circumstances. The ideas evolved and developed for the Stedman Gallery show, and I could hear in the group discussions that we, the RCCA staff were periodically included in, that there was very active investment in the objects taking shape. However, since we had agreed with Leslie that she would serve as the liaison with the artists, we did not go to the artists’ studios, as we would normally do if this was a Stedman Gallery-generated exhibit, where we would see the work being fabricated. We were in the dark. I was in the dark. I was still in the dark on the final weekend of the installation, January 12-15. When the lights were turned on, literally, the spotlights and the digital projections animated the objects and brought them, and the space, magically to life.

The use of light and of projection as mediums to shape and color and animate space constituted one of the important ways in which the concept of sculpture was reshaped and extended in this exhibition. In addition to using these immaterial yet impactful media in the artwork, one of the artists, Kaitlyn Paston, incorporated sound in her installation, recording her own vocalizations, the sounds of her breathing, and interjecting the chirping of crickets into the soundtrack. The looped recording was immediately perceptible upon entering the gallery, and invaded the space of all the other artworks and infiltrated the furthest recesses of the Stedman. Kaitlyn Paston also chose to occupy one of the least visible parts of the gallery, making hers a space to discover; and as opposed to using the traditional floor or walls, she projected her videos onto the ceiling, requiring of the viewer a curiosity that was rewarded with a work rich in imagery and symbolism.Andi Steele’s monofilament installation reworked how the exhibition viewer navigated the familiar space of a long narrow gallery within the Stedman, transforming the prosaic into a shifting web of reflected light. And Joanna Platt’s grid of electrical conduits and junction boxes suggested that part of the building infrastructure had been excavated and put on display. On entering the Stedman, the viewer is greeted by Elizabeth Mackie’s framed image of a woman standing in an oversized skirt in front of a backdrop of trees. Skirt Continuum—Alyssa, rewarded the attentive viewer with recognizing that she was viewing a looped video rather than a still, providing a clue that things in this exhibition were not what they first seemed to be. When the viewer came upon Jacintha Clark and Jeremy Maas’s collaboration, Still Life, the digital projection on the porcelain still life created an other worldly universe that absorbed the viewer with its colors and textures and movement. And, then asked, How did they do that?


SPACE INVADERS

Leslie Kaufman, Guest Curator

What first struck me when I walked through the doors of the Stedman Gallery was the sense of space. With ceilings of varying heights that got taller as I walked further in, there was a suggestion of both endlessness and aspiration. Of course, that was an illusion, since the walls, ceilings and floors created real physical boundaries that would restrict whatever was placed inside them. Intrigued by the various ways in which space could be limitless and yet could also be contained, I thought about how artists could use space as both a concept and a physical element of their work. I had also been thinking about the resources on our planet, and how we as Homo sapiens contain, control, and in many ways diminish the resources and environment around us. How can we create a different model? Can artists work together to both explore ideas of sharing space and resources, while retaining their individuality? Can they create an overall exhibition that encourages collaboration but still maintains an electric tension amongst the works? Can they encourage audience involvement and interaction without losing the structure of the overall presentation? And can they delve deep within their experiences to create dialogs between outside, accessible, shared experiences and inner, private, hidden, and secret memories and histories? I considered the possibilities of not only how space could be used, but also how artists could think about the space in a way that redefined not just the space itself, but also the relationships amongst the artworks that would be displayed there. The installations would be site specific to the extent that they would need to address the configuration of the gallery. But there also would need to be an overarching idea that would relate them to one another. Having worked on themed exhibitions with groups of artists before, I wanted something to happen here that went beyond individual responses to a concept. For this exhibition, I wanted each artist to stretch her artistic muscles and reach further—into the space of another artist. The artists would need to be flexible and open to changing ideas and processes. They would have a large degree of freedom, but they all needed to share in the vision of the show. And that vision would take form only through collaboration. Jacintha Clark and Jeremy Maas, Still Life (detail), 2018, mixed media.

What would be the right title and concept that would allow for diverse perspectives that would still ultimately unite into a cohesive exhibition? Ideas flashed around in my head, until one jumped out at me: Space Invaders. With viewers anticipating alien invaders attacking the gallery, the level of interest would


likely be high. The reality, although significantly different from that of a video game, would still incorporate sound, moving images and interactive elements. Upon entering the space, visitors would themselves become elements of the whole, making the experience change with the inflows and outflows of the crowd. Viewers would be invading this space, but would not be the only ones encroaching onto the territory of others. Artists would be invading as well. But this invasion would be consensual—the participants would all be engaging in perhaps questionable behavior outside of society’s norms, but well within the myriad dimensions and conventions of art. The exhibition would incorporate individual works by each of the artists and would be constructed so that each component work would be an integral part of the larger whole and couldn’t be removed without weakening the overall structure. In order to do this, the artworks would have to have unique, specific connections to other works in the show. How this would happen would have to be resolved through the engagement of all the participants with one another. Before artists could be brought into the conversation, the wildness of “space” needed to be corralled, just a bit to give it some form that artists could ride off with. That was challenging since space itself is amorphous, and the contexts in which it is used are ubiquitous. Without it, we would have no architecture, and threedimensional art would not exist. We are in awe of outer space, yet also dive deeply into inner space through our thoughts and dreams. Our imaginations are boundless and defy containment, but once our ideas take physical form, they populate the environment around us. Nothing exists in complete isolation—all matter is connected through sharing space. Inhabiting space gives us a physical presence and a connection to our environment. We put up walls and structures to protect us, and we are forced to move from one space to another when that protection is insufficient to stave off threats. We experience the natural world outside as both hospitable and treacherous. Walking into a space changes it, and our perceptions begin to define what we see and experience. We live within space, yet contain it within ourselves. Space is also inherently entwined with time. As Gaston Bachelard wrote in the Poetics of Space, At times we think we know ourselves in time, when all we know is a sequence of fixations in the spaces of the being’s stability—a being who does not want to melt away, and who, even in the past, when he sets out in search of things past, wants time to ‘suspend’ its flight. In its countless alveoli space contains compressed time. That is what space is for. Andi Steele, Meanders (detail), 2018, monofilament, eyehooks, wood.

As my investigation into the nature of space continued, so did my thoughts about who would be best suited to actualize the concepts. I was looking for people who had already successfully participated in group exhibitions, and who would be


interested in taking on the challenges of a collaborative show. While I cared about the specifics of what they would create, I was also concerned that the artists would be able to work well with each other. I thought about artists I knew and with whom I had worked, and invited an initial group of artists. Their selection was based on the work they had produced for the site-specific Philadelphia Sculptors exhibition Artship Olympia, which took place on Cruiser Olympia during summer 2016. I wanted to make sure to combine different media and approaches to space in order to create a vibrant and thoughtful presentation, and to emphasize the experiential nature of the exhibition. Each artist had already proven to be flexible and able to overcome unexpected changes and obstacles, qualities that would be invaluable for this new initiative. The process of working together also required a willingness to take risks and an openness to both sharing ideas and receiving feedback. I felt confident these artists would embrace this process as we took the next steps together. Over the course of a year, we met in person, bounced emails back and forth, visited the gallery, had actual and virtual conversations, and began to loosely weave our ideas together. Over Thai food, ideas were passed around with the dishes, with some partaking heartily and others trying something more to their liking. We all agreed we would be mixing physical art and objects with digital projections, l ight and sound. But the details would need to be worked out. Joanna Platt, initially working with her partner Nathan Soloman (who later decided to participate as a consultant rather than as an artist) helped begin our conversation. Nathan had a background in gaming technology, so he and Joanna first took us to outer space and proposed that artists could create individual planets within a solar system. Other ideas arose during the course of further conversations between them, including a proposal to create a large space where artists could share the resources of light and water. This idea was discussed with the group, but it only significantly resonated with one artist, Jacintha Clark. She envisioned projecting images of moving water onto porcelain objects. With little momentum, the overall idea of sharing resources did not gain traction. Another idea began to dominate. During their brainstorming, Platt and Solomon had suggested using houses as focal points. Artist Andi Steele mentioned that in a previous work she had strung monofilament lines to define space by creating forms suggesting houses. She saw possibilities for Space Invaders by either doing something similar, or by creating “hallways� leading to other works. The other artists also found ways to adapt this to their own ways of working, and the concept began to take shape. Joanna Platt, Outside In (detail) 2018, mixed media.

As a universal image of shelter, the house functions in numerous literal and symbolic ways. Exterior walls provide structure and create a barrier against weather and hostile forces. The interior of the house is considered the domestic sphere and


is frequently associated with the feminine. It provides space that is intended to be safe and protected and which contains the elements of individual and family life. Rooms, closets, attics and basements create smaller spaces to fulfill different purposes. What occurs outside the house is generally considered public, while interactions inside fall within the private realm. Secrets can be locked inside, along with thoughts, dreams, and memories. The image of the house is rich with both history and symbolism. On a psychoanalytic level, the house serves as a metaphor for the psyche. Back in the larger gallery space, the dynamic between interior and exterior comes back into play. Building on her previous work and interest in women’s traditional domestic activities of sewing and homemaking, Elizabeth Mackie’s multi-part installation Skirt Continuum presents three oversize skirts of different fabrics, hanging from the ceiling. Videos of moving tree branches and leaf and floral patterns are projected on their surfaces, making them appear to dance with the rhythms of the wind-blown trees. Visitors walking between the projection and the skirts become caught up in the dynamic, adding their own shadows and absorbing the moving light. Additional skirts patterned with mid-20th century nature designs hang from boldly painted movable walls. The space becomes feminized in a way that connects to the harmonies of nature with both skirts and leaves able to move and sway. As each artist began to explore ways in which she could respond to the idea of a house, an additional component emerged as part of the dialog. It became increasingly apparent that it was the tension between the concept of indoor space and that of outdoor space that was one of the prime motivators for the artists. One means of addressing this was through incorporating or adapting typical elements used in the construction of a house—windows and doorways. Acting as passageways from the interior to the exterior, they permit the flow of light and air and provide opportunities for access and egress. Windows and doorways also function metaphorically, providing additional areas for artistic exploration. Other perspectives arose in the consideration of each space—being present within it and gazing upon it. One can stand inside and look out at the outside world, or stand outside and peer into the domestic scene within. And when present in either environment, movements of people, objects, and other life forms alter the experience of the space.

Elizabeth Mackie, Skirt Continuum —Fall Winter, 2017, fiber and digital projection.

Elizabeth Mackie knew from the beginning that she wanted to include both physical and digital components in her work. As both a photographer and a fiber artist, she was interested in building a large fiber installation and creating video projections relating to it. One idea was to use translucent fabric that allowed projected imagery to pass through it, potentially adding a new dimension to the space. The moving images in the videos would also change the perceptions of the space as people walked through them.


The exhibition was always meant to provide an immersive experience, and that was not limited to the sense of sight alone. Another component was sound. Kaitlyn Paston had a background in vocal technique and multimedia performance. She was interested in localizing sources of sound within hidden internal spaces, suggesting the interior sounds of a body and the inner monologues that run through our heads but can’t be heard by others. As each artist progressed with her explorations, we reached a point where details and concepts became sharper and more focused. Artists were given a deadline to finalize their concepts and site plans, and by the time we assembled to get an initial overview of the show, most people had both clarified their own intentions and identified specific ways in which their installation would “invade” that of another artist. Once the components were identified and created, locations determined, and technologies researched, the artists were ready to piece it all together. What they came up with not only changes the viewer’s perceptions of the gallery and its displays, but actually expands the gallery’s usable space. At the entrance to the gallery, visitors are torn between stasis and motion. Elizabeth Mackie’s luminous video projected into a wood picture frame on the wall, acts as a preview of her other work and requires viewers to stop and observe. Andi Steele’s Meanders, a passageway of glimmering and pulsating strands of monofilament, beckons viewers to enter and then guides them through it. As they take their first steps into the altered space of the exhibition, visitors are presented with a challenge: how to adapt both their consciousness and their movements in order to successfully negotiate the delicate barriers directing their actions. As Meanders reaches farther back, intersections with the works of other artists become apparent. Sounds emanate from a hidden source at the rear of the gallery where a partial wall attempts to carve out a back room. This smaller, infrequently used space contains not just sound, but also vibrant abstracted videos of human arms projected onto its enclosed bi-level ceiling. Kaitlyn Paston’s soundscapes, a combination of vocalizations, altered breathing, and sounds from nature, accompany three video projections synched together to fill the entire ceiling space. Invisible from the rest of the gallery, the imagery moves across the ceiling, occasionally reaching down the wall and then retreating back upwards. The relative isolation of the space maintains a feeling of privacy and intimacy, yet visitors are encouraged to “invade” it to allow them to explore their own inner musings. Wiggle Room becomes a response to the need to create space for reflection and response.

Missing Credits

Peering out from the shorter, interior concrete block walls, Joanna Platt’s array of electrical conduits and glowing junction boxes reveals her interest in how technology and electronics redefine space. Positioned along a wall and around a corner, her artwork references how a house or building’s electrical system conducts current, and also emphasizes the idea of connections. The junction boxes are faced


with hemispheric lenses and act as “windows” through which the viewer sees an illuminated photo or video of a scene, object, or part of a story. The outside world is miniaturized and brought inside. Scenes from her childhood landscapes compress time as memory coexists with the present. Connections are also made with other artists in the show. Rays of monofilament from Steele’s Meanders become rays of sunlight as they appear to break through the clouds in one of Platt’s boxes. Other boxes guard mementos and images belonging to other artists. When moved from the outside to the inside, the space where they exist changes, altering their meaning with the altered context. Originally planning to work alone, Jacintha Clark adapted her original ideas to include a digital component in one part of her installation. She reached out to a collaborator, Jeremy Maas, since his expertise in animation and gaming technology would allow for the creation of a virtual component that could interact with the physical artwork. Working together, they created Still Life, a fantasy landscape of objects made of porcelain, resin, and related materials. In a secluded corner of the gallery, an interior still life on a table transforms into an animated landscape through the use of colorful video mapping. Barely perceptible “bug bots” scamper over the terrain, helping to confuse what is physical and what is virtual. For Shape, Shadow, Space, the other part of her installation, she uses porcelain to create minimalist objects: a window, building framework, a stairway, and a moon spaced across the surface of one side of a movable wall, and venetian blinds dangling in front of the other side. Using light, shadow, and the painted illusions of shadows to define objects in space and time, she creates a haunting tableau where the isolation and stillness direct the mind and eye inward. Throughout the process of working together, the artists also communicated with one another separately to find more ways of “invading” each other’s space. The final installation includes small physical interventions where one artist inserted work into another artist’s space. There were also more subtle invasions where artists reached beyond their own space using light, sound, and shadow. Ultimately, though, the invasion really was a collaboration, with the goal of integrating disparate artworks and points of view within a general framework capable of standing on its own. The “house” they built together may have been more deconstructed than constructed, but by using it as a starting point, they were able to shake up our expectations of what is inside and what is outside. And as a last small irony, through a very convoluted path, Jeremy Maas did bring a gaming element into the show.

Elizabeth Mackie, Skirt Continuum— Pink/Red Flowers, 2017, fiber.


JACINTHA

CLARK

What is the collective and unique experience of space? Using porcelain as my primary medium, I explore space as both a physical site and as a condition of being—a psychological interior marked by qualities of belonging, longing, displacement, infinity, and boundaries. The installation Shape, Shadow, Space explores what we do to create, break, and contain space. The physical properties of vitreous porcelain, at once delicate and brittle, emulate states of decay in nature, yet the forms are built and mended by hand. I emphasize fingerprints and allow the clay to reveal the human hand in the work as it warps, cracks, and changes. My installations create moments where the work accesses dimensions of both physical and psychological landscapes, finding the beauty and the unrest in temporal junctures. Jacintha Clark (b. 1986, New Mexico) works and lives in Philadelphia. Clark’s career in architectural conservation inspires a lot of her art as she explores the ways we connect to the world. Her work has been exhibited in various solo and group exhibitions throughout the Philadelphia region and New York. Clark was the recipient of the Fleisher Art Memorial Wind Challenge, Jacques McCuiston Dowling Prize, and the The Justine Cretella Memorial Scholarship.

Jacintha Clark, Shape, Shadow, Space, 2018, porcelain, string

Clark earned an Associate’s Degree from Arapahoe Community College, a BFA from Metropolitan State College of Denver, a Post Baccalaureate certificate from Maryland Institute College of Art, and an MFA from the Pennsylvania Academy of the Fine Arts.


JEREMY

MAAS

Space is what exists between two things. In this collaborative installation, Jacintha Clark and I worked together to invent a space where both tangible and digital worlds coexist and influence each other. In this sculpture, like our world, it has become harder to distinguish between what is real and what is not. By imagining this space as a living environment we can try and observe how one reality influences the other.

Jacintha Clark and Jeremy Maas, Still Life (detail), 2018, mixed media

Jeremy Maas is originally from Atlanta, GA and studied Design and Animation at the University of Pennsylvania. Currently he teaches 3D courses at The University of the Arts and is a co-founder of Big Bright Monster, a company focused on immersive experiences and innovative applications of art technologies. He has worked on various applications, games and experiences for clients in the greater Philadelphia area, most recently an in-house virtual reality meditation and controlled breathing experience called Prana. His other sculptural work builds upon the ideas of immersion and voyeurism in the digital space by creating large-scale projection sculptures using real-time game engine technology. In his spare time he wanders the city streets and fights crime.


ELIZABETH

MACKIE

Skirts are symbols of female identity, products of the domestic work of sewing and homemaking. Citing fashion from the late 40’s and early 50’s, I found material patterned with flowers, birds and leaves from which I made two skirts. The other three skirts have projections of floral patterns from the fabric, or images of leaves moving in the wind. Skirt Continuum explores the contrast between stasis and motion, domestic and natural, indoor and outdoor. The tall ceilings in the Stedman Gallery allowed for my pieces to become voluminous and to fill the lofty expanse. My method of working expanded in terms of scale and complexity for this site. I needed to consider a more ambitious approach taking into account the unique qualities of the large gallery. Experimenting with projection on different types of fabric, I realized that different textures were necessary and that drawing out the relationships between the projected images was important. My intention had originally been for one skirt; as I worked, it expanded to five. Students Alyssa Herrera and Carolyn Mandracchia worked 40 hours weekly with me during the summer through MUSE, The College of New Jersey sponsored research program. Elizabeth Mackie is an interdisciplinary artist working in photography, video, sound, textiles, and installation. She studied Mathematics and Art earning a BS from Salisbury University and a BA/ MFA from University of Maryland. She currently lives in Frenchtown, NJ and is a Professor in the Art Department at The College of New Jersey.

Elizabeth Mackie, Skirt Continuum— Blue Flowers and Birds, 2017, fiber.

Elizabeth’s accomplishments include fellowships from Mid-Atlantic Arts Foundation; New Jersey State Council on the Arts; The Center for New Media, Frankfurt, Germany; and NJ Institute of Technology. She received grants from Geraldine R Dodge Foundation, National Science Foundation, and Pennsylvania Council on the Arts. Elizabeth’s work has been exhibited throughout the USA and internationally.


Kaitlyn Paston, Wiggle Room (detail),

KAITLYN

2018, mixed media.

PASTON I chose the narrow corridor in the back of the Stedman to create an intimate and sensorily immersive place. Rather than interacting with the other artists’ spaces, I sought to claim my own which could feel private and personal. In urban environments, it is a continual challenge to make a space your own. Surrounded by overwhelming crowds, our awareness travels between our personal concerns and observations around us. For the video, I began by thinking about waves in the body. Waves are a product of force, movement and assertion. Hands are the means by which we most often interact with the external world. Through our hands, we experience touch and feeling at the same time. How do physical bodies form our experience of the external world? How do we physically experience our internal worlds? How do we shape the external world in our perceptions and judgments as we sense and interact with it? How do we physically impact the external world, people and environment? How do our physical and mental attitudes affect the space we inhabit? Reaching into an intangible space where sensations and emotions take visible form, the hands are creating a space for self-awareness. A space to reflect between reaction and response: Wiggle Room.

Kaitlyn Paston is a multi-media artist living in Brooklyn, NY. She studied at Tufts University and the School of Museum of Fine Arts, Boston, earning a BA in German and BFA in Studio Art. She spent a year studying at the Freie University in Berlin. She has studied classical vocal technique and sang in the Opera ensemble at Tufts University. Living in Frankfurt, Germany as a 5-year old, she learned to speak German fluently and has been interested in language ever since. Her process is always performative. She uses vocal performance in her soundscapes to filter ideas through the body, resulting in expressionist landscapes. Kaitlyn Paston currently teaches German at a ABC Language school in NYC. She has created numerous soundscapes for installations in collaboration with Elizabeth Mackie in Philadelphia and New Jersey.


JOANNA

PLATT My work focuses on the ways our interactions with technology have created new configurations of defined space inside our computers and media devices. Using the electrical system of the building as a metaphor for more complex systems of connectivity and information distribution, I investigate the way these devices connect us to and distance us from the outside world. Drawn lines of conduit connect junction boxes fitted with lenses framing a view. Through these lenses, images are projected forward, the viewer occupying a location neither fully inside nor outside the work. For Outside In, I welded memory to place, digging through old photos and making videos from walks in nature or pieces of my childhood; a series of landscapes connected by wires and conduit. In collaborating with the other artists, I extended the metaphor of connectivity. Photos of Elizabeth Mackie’s skirts float like ghosts in trees; intimate ceramic plants from Jacintha Clark grow inside the junction boxes; my own relationship to nature in conversation with theirs. For Cumulus, a line of images viewed through lenses in junction boxes connected by conduit depicts weather formations. The final box connects to Andi Steel’s piece Meanders. The light escapes into her filaments, opening the boxes and connecting to the space in the gallery. Joanna Platt was born in Woodbury, NJ into a family that was more concerned with nurturing their children’s creativity than keeping finger paint off the walls. She spent most of her life knee deep in muck, playing in the clay in her father’s studio, poking in tide pools with her mother, digging through detritus in the junkyard and pushing a canoe from a sandy riverbank. Walking through the woods, her parents pointed out details, every rock turned over containing an entire universe.

Joanna Platt,

She received her BFA from Mason Gross School of the Arts, New Brunswick, NJ and her MFA from the University of the Arts, Philadelphia, PA. She is a member of the gallery collective Tiger Strikes Asteroid, and has exhibited in San Jose, Costa Rica; New York City; Philadelphia, PA and region; Miami, FL; and Clinton, NJ.

Outside In (left, detail), Cumulus (right,

She is currently employed as an Adjunct Professor at Camden County College, Blackwood, NJ and a sculpture technician at Independent Casting, Philadelphia, PA.

detail), 2018, mixed media

www.joannaplatt.com


ANDI STEELE

Space Invaders offered unique opportunities where installation artists were encouraged to collaborate, mixing ideas to transform the space, not simply place objects on exhibit. For my work to be fully realized, the audience must be active participants. I know how I like to achieve this and was skeptical of how my ideas would combine with the work of others. Meanders is designed to guide people through the gallery. Following its path was how my idea would be realized, but this would also lead to potential starting points into the pieces of the other artists. There is a balance. I was able to collaborate but still focus on my exploration of space and confrontation. My site-specific installations create physical barriers that force people to alter their movements, adjusting their understanding of place within their surroundings. When someone is confronted, their perceptions change; awareness is shifted, both externally and internally. Forcing people to follow a certain path or move in a particular way requires them to engage. Meanders is meant to do this; slow people down, first their bodies, then their minds. The work begins with a confrontation that is intended to precipitate reflection on individual consciousness. Andi Steele grew up in West Columbia, SC. She received a BFA in graphic design from the University of South Carolina in 1994. After graduating, she lived and worked at Penland School of Crafts for six years, two as part of the Penland Core Fellowship Program. She studied papermaking and blacksmithing, using these materials to create figurative sculpture. In 2004, Andi Steele completed her MFA in sculpture at the University of Georgia, where she shifted her focus to installation work that challenged viewers’ perceptions of space and their place within it. Andi Steele, Meanders (detail), 2018, monofilament, eyehooks, wood.

Andi Steele exhibits nationally; she has shown in Roanoke, VA, York, PA, Atlanta, GA, Philadelphia, PA, Spartanburg, SC, and Lake City, SC. In 2016, she received her third Regional Artist Project Grant from the North Carolina Arts Council. She lives in Wilmington, North Carolina, where she is an Associate Professor of sculpture at the University of North Carolina Wilmington.


CATALOG OF WORKS All works courtesy of the artists

Jacintha Clark Shape, Shadow, Space, 2018 Porcelain, string

Kaitlyn Paston Wiggle Room, 2018 Mixed media

Jacintha Clark and Jeremy Maas Still Life, 2018 Mixed media

Joanna Platt Outside In, 2018 Cumulus, 2018 Mixed media

Elizabeth Mackie Skirt Continuum Alyssa, 2017, video Pink/Red Flowers, 2017, fiber Blue Flowers and Birds, 2017, fiber Fall Winter, 2017, fiber Red Skirt, 2017, fiber Summer Fall, 2017, fiber

Andi Steele Meanders, 2018 Monofilament, eyehooks, wood

RUTGERS UNIVERSITY−CAMDEN Phoebe Haddon Chancellor

Kriste Lindenmeyer Dean, Faculty of Arts and Sciences

STEDMAN GALLERY RUTGERS−CAMDEN CENTER FOR THE ARTS

Cyril Reade Director Noreen Scott Garrity Associate Director for Education Nancy Maguire Associate Director for Exhibitions Carmen Pendleton Community & Artist Programs Manager

Miranda Powell Arts Education & Community Arts Program Assistant Zulma Rodriguez Administrative Assistant Catalog Design Matt Blair Photographs Kelly Budesa



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