One of the most dangerous unspoken threats we are facing is the insect-apocalypse currently underway. As the foundation of ecological webs as well as an essential part of our food production, the disappearance of pollinators presents a grave situation, yet few speak of it. While creating studies of pollinators native to Maine, I sometimes feel inclined to cut them out to collage on various backgrounds. With the voids, I build collages that integrate reproductions of the DOW Chemical Plant landscape that I painted in 2009. Filling the voids of these bumble bee forms with the saturated textures of the original landscape speaks to the impacts of chemicals that fill our spheres. Even the word ‘pesticide’ reduces our perception of value by blanketing judgement across the whole insect world without recognition of the role that beneficial insects play in a balanced approach to agriculture.
Initiated by Rian Kerrane, a native of Ireland, Hybrid asks fourteen artists to “cross over”. The artists’ work examines the experience of crossing the Atlantic in the current political climate while acknowledging historic influences from each artist’s perspective; identifying experiences of (dis)placement and immersion in cultural and social surroundings from either side of the Atlantic. RedLine provides the first venue for a pair of exhibitions, the second of which will take place in Ireland, allowing each artist to engage both with “local” proximity and “foreign” distance in turn.
The wide range of included media and the diverse origins of the participants are intended to incite a stimulating translation and critical examination of ongoing cultural conversations and personal experiences of the hybridization of our lives, expectations, ancestral backgrounds, geology, perceptions, identities, of immigration, and of both the geographic distance and human commonality of the artists.
Shaped by Kerrane’s personal ties with the included artists, Hybrid emerges from a reflective process of curatorial matchmaking. Working in sculpture, painting, drawing, photography, film and installation, the works of these two groups of artists both mirror and confront one another. Hybrid acknowledges and pays tribute to complex local experiences in a common global culture, reflecting Kerrane’s eighteen years of continually (re)crossing the Atlantic.
The Irish arrived in the west as hard rock miners, and planted the seeds of industrialization that changed the face of our landscape and established the foundation of culture in our mountain towns. Even today, the old saloons carry an Irish flavor. This series looks at the long term, chemical impacts of a set of mines perched around the town of Leadville, at the headwaters of the Arkansas river. I was awarded a Terraphilia residency through the Colorado Art Ranch, where I had the opportunity to get to know the ecologist, Susan Tweit. She offered great insight into the nature of the river, and the transformation of the ecology after the grouping of mines upstream became a federal ‘Superfund’ site, wherein the pollution from the mines was mitigated. The mines had no outflow, so when the snow melts, all the passages fill up with water, which then overflows into the Arkansas River, killing all the insects and larvae in a flood of red-colored heavy metals from the mines. The drawings here were paired with a series of waterflies native to the region & drawn with red-tinged ink in a way that make them look like they were exploding.
Motherhood changes us. For me, the arrival of Thatcher Gray caused a shift from explorations of the long term impacts of war to an internalization of how we nourish ourselves. Internally, I was growing a child, nourishing him within then using my body to feed him, so I became acutely aware of what I was putting in my body. As he started eating solid food, I became obsessed with where that food came from, how it was grown and the load of chemicals that could potentially add to our body burdens. We started growing our own food. Before creating artworks that emphasized solution oriented practices, I explored how to represent the impacts of petrochemicals. This series of mixed media works on paper integrated a base texture made from a silkscreen print of collaged plastic that I had singed with a blowtorch. I transferred photographs of the oil refinery in Commerce City, just north of Denver. These photographs were taken during a rainstorm while Thatcher was safely cuddled at home with grandma. They are abstracted by the movement of my car as I was driving by. Generally I like to compose landscapes with slow consideration, but this particular afternoon I was confronted by hefty plain clothed security guards within 3 minutes of stepping out of my car, even though I was on a public avenue. The angles of the drive by photographs coupled with the often blurred motion recorded by the camera added a dynamic quality to the compositions that are similar to the textures wrought by a shotgun blast, both processes being slightly out of control. Into this foundation, I painted out aspects of the industrial landscape with oils to highlight the skewed angles and add atmospheric depth.