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| Mary March |
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Born in Los Angeles in 1977, I have traveled continuously since I was nine months old, including living in the UK and the Netherlands. I have now quite happily made San Francisco my base.
I believe that art is all about taking an intense interest in life and sending that interest outward in a sensory form. So I take an interest in life... and do everything from Shiatsu massage (15 years and counting) to tight rope walking, and am constantly learning about everything from folklore and social psychology to basic quantum physics, neurology, and hardware design.
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| 关于此艺术家 |
My work is an investigation of definitions, boundaries, selections and connections. It explores the liminal space between things which are considered established, and questions the relationships between them. My work explores the connections between things, and the definitions of where one thing begins and another ends. Where are the lines between art and craft, male and female, painting and sculpture? How do we define ourselves? Are “black” and “white” actually colors of skin or cultural constructions, and if they are, then how do people decide where to draw the line between them? In exploring multiple perspectives and definitions, it is an entirely postmodernist approach. However, rather than breaking things down entirely, I prefer to explore the relationships.
As has become true of many contemporary artists, I do not limit my materials. I choose the medium which best suits the concept, history and the sensory experience for the work. My work includes painting, sculpture, installation, performance, digital work, fiber, and combinations of all of the above and anything else that will suit the piece.
My inspiration comes from many sources, and each builds on the others. I draw from my study of religions, history, anthropology, mythology and social psychology, as well as my experience as a teacher, healer, martial artist, dancer/choreographer, gymnast and world traveler. I take inspiration from all over- a religion/anthropology seminar on ritual informed my sense of space, while a particular shade of blue taken from an impressionist painting has made its way into my palette. A graduate course in social psychology sparked childhood memories and led to a project on perceptions of race. Rather than have a single major source of artistic inspiration (a specific artist or movement), I have taken my sketchbook to museums and galleries all over the world, taking notes, and I am continually distilling what is useful to me. |
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The Bridge
2003 about 3 x 5.5 x 3.5 meters |
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It was a vigil, a contemplation, a meditation within time and labor.
It was a transition between chaos and order, and an idea into tangible reality.
Formlessness into form, which then unravels into formlessness again.
It is a cycle of creation and destruction, and the liminal space between them.
It is a an exploration of definition, process, and a meditation of all these things.
Physical: The walls were completely covered in canvas, the floor
covered in wool. I made the wall itself into a loom,
and the pile of loose wool that I spun became a weaving
that first went over the painting and then into it.
Eventually I cut the weaving from the wall, allowing it
to unravel and dissolve back into loose wool. Then I
wrapped myself inside of it, still spinning. The process took seven weeks as an extended performance. |
Girl (detail) from Binary drawing Series
2006 pencil, computer 45.7cm x 60.9cm |
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They have gone through processes both immediate and analytical. The people shown have been through many filters; interpreted by one artist, reinterpreted by another, and then broken down into data by a computer process. And yet they still maintain their immediacy, humanity and rawness. |
The Creation Process
2004 graphite drawing altered in computer and printed on canvas, painted over in oil 109cm x 68.5cm |
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"Creation Process" is an exploration of the artistic process in the digital age. The juxtaposition of layers of artist's mark with technical precision, computer work and classical painting invites an examination of the artistic process. What is the artist’s mark when computers are involved? Where is the touch and spirit of the artist in such work? What is a copy, an original, an interpretation? |
Embrace
2005 Oil on Canvas 68.5cm x 68.5cm |
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The Sculpted Canvas Series all reach into the visceral experiences of life- moments, both sublimely quiet, and those that rush with sensation. The sculpture comes out of my full contact and involvement with the work- I need to mold it with my hands as well as apply paint. The gesture evokes the feelings of the moment. They are memories, sensations, and feelings that recall another memory, another sensation.
This one is inspired by the first times I held my husband. |
Colorstorm in Nebraska (from Postcards of Places I am not)
2005 digital photography and manipulation 10.79cm x 13.97cm |
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I have walked through so many places, so many times and memories, often and in a way always alone. I have pictures of those moments and places, but there is always a shadow on them, marking the place that I am in no longer.
There are currently a hundred images completed and printed. They are actually postcards, meant to be sent and received, taped to the door, held to the fridge... |
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| 教育程度与个人自传 |
BA in History of Religions, BFA Fine Art, MA in Art Education
Exhibitions: Iconoclasm (11/02) Harvard University, "huisje onder de zee. " (9/03)AKI University, Enschede, Netherlands, "The Postcard Show" (12/2/05), Featured Artist at "The Artist's Alley" ('06), Interview and cover picture in "Mission Arts Monthly" (3/05) San Francisco.
I am involved with various art groups in the bay area and contribute my work, performance, skill, logistic talents, and art to a few every year. |
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| 未来的展览 |
| a.muse gallery (installation planned), Gallery One San Francisco. |
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网站: www.marymarch.com |
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