Flood Fine Art Center, Asheville, NC
Friday, December 22, 2006 7:00 PM
Asheville, NC (November 27, 2006) On Friday, December 22, 2006, at 7:00pm The Flood Fine Art Center in the River District, will host the first in an ongoing series of poetry readings. Four local poets: Jeff Davis, Josh Flaccavento, David Hopes, and Audrey Hope Rinehart will each read in a round robin format.
Jeff Davis is a board member of the Black Mountain College Museum + Art Center. His poems have appeared in
Lillabulero, Iron, Asheville Poetry Review, and Nantahala
Review. NatureS, his selected poems, appeared from New Native Press in 2006.
Opening November 4, 2006
Asheville, N.C. (September 20, 2006) – Beginning Saturday, November 4, the Flood Fine Art Center will present new work by artist Lorraine Walsh. On exhibit will be digital prints and motion media that explore nature, pattern and perception. In this work, Walsh creates landscapes inspired by diverse forms, ranging from various species of insects to depictions of fundamental ideas inherent in the scientific superstrings theory.
Lorraine Walsh’s art is inspired by nature and science. Recently, she has reached back into time to explore fundamental particles as predicted by string theory. Here, Walsh draws upon dimensions and forms in space, creating patterns that explore the physics of things that are both tiny and massive. The art critic Nancy Princenthal writes, “Lorraine Walsh’s Superstrings, an Iris Print, is … buoyant, it vibrates with the microcosmic activity of particles in motion, oscillating between energy and matter.” In Walsh’s work on insects, she weaves together concepts based on their organizational capabilities with aspects of computerized systems, often representing larger ideas about societies in general. Her current work in digital print and motion media springs from the infinite variety and sublime beauty of butterfly spots and insect wings. Walsh explores existing shapes and form, while creating her own new “spots” and imagery. In a sense, she is creating new structures by hybridizing specimens, which are the result of digital manipulation and combines. These recombinant landscapes and insects suggest an alternative environment that is not possible by traditional evolutionary processes. Rather than through DNA replication, the variation, recurrence and selections are digitally determined by the artist.
Walsh states “My art explores visual-spatial relationships, patterns and color. This work has layered meaning, with one idea rolling over into another, as the process of creating in itself informs my thinking. I therefore move readily from a conceptual approach, to cultural observation, to poetic metaphor in my art.
My interest in science-art is less in looking at the influence of one discipline upon the other, but rather in the interplay and mutual expression inherent in the two fields. It is this fascination with the connections between art and nature, and art and physics, that provide me with my subject matter. As an artist, I approach a range of work that interprets the impenetrability of superstring theory, creates new eyespots on butterflies, or invents patterns from social insects. This new work also extends itself to political metaphors. Thus, it is not my intention to illustrate formulas for an understanding of scientific principles. Instead, I freely speculate on visual solutions inspired by my research and observation.
The abstract thinking characteristic in creating aesthetic imagery and metaphor can be seen as a twin process of scientific inquiry. Both are investigations into the nature of reality. Quoting the novelist Vladimir Nabokov, ‘There is no science without fancy and no art without facts.’”
Walsh’s art is exhibited internationally in venues that include the Museum Ludwig, Cologne, Germany, and the José Martí National Library, Havana, Cuba. Additionally, her work is exhibited in a broad range of gallery exhibitions, and is included in several collections. In recent years, The New Yorker, The New York Times, Time Out New York, and other publications have featured her work. She has lectured nationally and internationally. A recipient of numerous awards and grants, Walsh recently worked with multimedia and physics students on a collaborative astronomy grant from the National Science Foundation for the visualization of the radio sky.
Lorraine Walsh is Director and Assistant Professor of Multimedia Arts and Sciences at the University of North Carolina at Asheville. Former Visiting Assistant Professor in Digital Design and Interactive Media at Pratt Institute in NY, Walsh received her BFA from Parsons School of Design and her MFA from the University of Pennsylvania.
Other academic experience and guest artist positions include Lafayette College, Rutgers University and Wellesley College. As a designer, she has developed graphics and interactive media for the Petrosains Discovery Center and Science Museum in Malaysia, The National Geographic Society and The Smithsonian Institution. As an artist and a teacher, she believes in combining digital technologies with traditional techniques. Her work merges time-honored practices in printmaking, photography and drawing, alongside digital methodologies.
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