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| Yvette Kaiser Smith | |
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Born in Prague, Czechoslovakia in 1958, I now live and work in Chicago, Illinois with my best friend Tim, dog named Nana, and bird named Freder. Parents brought me to Dallas, Texas in 1969. Marriage and graduate school brought me to Chicago in 1991. |
| 关于此艺术家 | |
I create my own fiberglass cloth by crocheting continuous strands of fiberglass into flat geometric shapes. These are formed and hardened with the application of polyester resin and the use of gravity. Small finished units are sewn together with fiberglass into medium sized blocks which assemble to form a larger unit or grid structure. |
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Identity Sequence e 4
2007 |
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| This work is based on digits from the number e. It is constructed from 323 small units, 17 rows by 19 columns, to look like an enlarged section of a microscopic organic blueprint. 17 and 19 are prime numbers. The four molecule sequence of human DNA determined the use of four alternating colors which serve as the space between each flesh toned digit. The small units are joined together to form 9 sections, 3 rows by 3 columns.
I was thinking about: identity codes, internal patterns that code the individual, DNA, external codes, population, individuals and masses. I wanted to use a sequence large enough that a pattern would be revealed, a pattern that read as some sort of code, a blueprint that described something specific. Even if it was not clear what that thing was, I wanted the pattern to resonate a purpose.
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Identity Sequence e 4
2007 |
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| On right is straight side view of Identity Sequence e Black, 2007, 183 x 234 x 81 cm, crocheted fiberglass, polyester resin.
From “Digits” exhibition at Alfedena Gallery, Chicago. Photographed by James Prinz.
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Identity Sequence e Black
2007 |
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| “Identity Sequence e Black” is based on the first 49 digits of the number e. I wanted a small section that seems to be cut away from a much larger one. Grid is constructed from 49 units in 7 rows by 7 columns. 7 is a prime number. Here the digits are articulated by two systems. Tonal gradation of the black where the darkest color value represents the 9 digit and no color represents 0. And the distance each unit pushes away from the wall, where units representing the 9 digit push 81 cm away from the wall and the 0s barely pooch up. The units are joined to form 3 vertical sections (2 columns, 3 columns, 2 columns).
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Identity Sequence e Black
2007 |
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| On the right is Identity Sequence RW pi, 2008, 224 x 284 x 15 cm, crocheted fiberglass, polyester resin. From “Digits” exhibition at Alfedena Gallery, Chicago.
Photographed by James Prinz.
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Identity Sequence RW pi
2007 / 2008 |
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| Seminal process decisions made for “Identity Sequence RW pi” began to create, early on, a more architectural form which later influenced the method by which the individual panels were joined to create the larger sections. This grid is constructed from 429 panels in 11 rows and 19 columns. 11 and 19 are prime numbers. This articulation is a little more complex. Of the two sizes of panels, the 13 x 18 cm units are perpendicular to the wall and the 13 x 13 cm units are installed parallel to the wall, joining the perpendicular columns together. Thinking about a medical lab, specifically glass tiles and blood samples, I settled on two colors, white and red. The white is really a translucent colorless resin and the red is expressed in multiple shades of red. The two colors are alternated to articulate the digits, for example, the sequence 31415 looks like: 3 red, 1 white, 4 red, 1 white, 5 red. A second pass over the grid articulates the same digits with the 13 x 13 cm wall-parallel panels, alternating floating and recessed, so that 3 panels float, 1 is recessed, 4 float, 1 is recessed, 5 float, and so on. The purpose of the dual method was to obscure an obvious read while revealing a pattern that reads like a code. The small panels are joined together to form 4 somewhat equally sized vertical sections. |
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Identity Sequence Pascal’s Triangle Green
2007 / 2008 |
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| My first doodles of Pascal’s triangle on graph paper revealed an architectural form that I found irresistibly beautiful, almost sexy. The triangle form was reminiscent of a bridge, an architecture I equate with building of civilizations and society. When I coupled two of the bridge forms in a mirror relationship, I saw a small section of a strand whose form could speak to an internal architecture or code of some sort of organic entity, a microscopic code enlarged.
Identity Sequence Pascal’s Triangle Green is based on digits from the first six rows of Pascal's Triangle. Blocks of the same color represent each digit. 2 panels which make 1 rooftop form equal 1 unit, so 5 ochre rooftop forms represent digit 5, etc. Two triangles, one inverted, touch at their beginning digit. Bottom triangle is constructed from 13 x 18 cm panels, the top from 13 x 13s. Panels are joined at approximately 90 degrees so that each row looks like an unfolded folded-book.
Far right is Identity Sequence Pascal’s Triangle Red.
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Identity Sequence Pascal’s Triangle Red
2007 / 2008 |
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| Identity Sequence Pascal’s Triangle Red is based on digits from the first six rows of Pascal's Triangle. Blocks of the same color represent each digit. Two triangles, one inverted, touch at their beginning digit, locking the two halves together. The individual units, which look like little tunnels, are joined end to end, alluding to organic strands while retaining their strong sense of architecture. |
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pi Strands
2008 |
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| Pi Strands is a direct articulation of the first 52 digits of the number pi. Each tube is 13 cm in diameter and 18 cm deep. Each number value was assigned its own color. Colors were inspired by bacteria. The individual units within each vertical strand are connected to create a solid unit. There are 7 vertical strands. 7 is a prime number. I like that this form speaks to biology and architecture at the same time. I associate strands with microscopic forms found inside bodies or unique organisms found in nature. |
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pi Grid
2008 |
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| Pi Grid is a direct articulation of the first 49 digits of the infinite number pi. It has 7 rows of 7 columns.
7 is a prime number. Each circle is approximately 13 cm in diameter. Here, each number value was assigned its own color. Blues are odd numbers, reds are even. Values 8 and 9 are the darkest. Lower values are diluted in color. 1 is clear. Zero is omitted. I like using the type of red and blue represented by the darkest values. These colors make me think of European Middles Ages because they are frequently the dominant colors in clothing illustrated in period painting, illustrations, and tapestries.
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| 教育程度与个人自传 | |
| EDUCATION 1994 MFA, University of Chicago, Chicago, IL 1990 BFA, Southern Methodist University, Dallas, TX 1990 Yale Summer School of Art, Norfolk, CT SOLO EXHIBITIONS 2008 Digits, Alfedena Gallery, Chicago, IL 2006 Crown Center Gallery, Loyola University, Chicago, IL 2006 Installations, Schmidt Art Center, Southwestern Illinois College, Belleville, IL 2005 Illinois Institute of Art, 180 N. Wabash, Chicago, IL 2005 Riverside Arts Center, Riverside, IL 2004 Community Structures, Northeastern Illinois University, Chicago, IL 2004 Indianapolis Art Center, Indianapolis, IN 2003 Sculptural Flesh, Elmhurst Art Museum, Elmhurst, IL 2003 Rosewood Art Center, Kettering, OH 2003 Cloaked Modifiers, CIU Art Lounge, University of Illinois at Chicago 2002 Dimensional Exchanges, Contemporary Art Workshop, Chicago, IL 2002 Groupings, Cook County Bldg., main lobby, sponsored by Hyde Park Art Center, Chicago, IL 2001 Nonlinear Feedback, Porter Butts Gallery, University of Wisconsin - Madison 2000 New Work, Evanston Art Center, Evanston, IL 2000 Pattern Generation, Chicago Cultural Center, Chicago, IL 1999 Holding Pattern, Peter Miller Gallery, project space, Chicago, IL 1999 Translucent Innuendoes, ACME Art Gallery, Columbus, OH 1999 Domains of Intimacy, Peter Miller Gallery, Chicago, IL 1999 Trumbull Art Gallery, Warren, OH 1998 Metaphors, E. L. Jacob Gallery, Wayne State University, Detroit, MI 1998 Around the Coyote Arts Festival, Curators Choice, Chicago, IL 1998 InsideArt Gallery, Chicago, IL 1997 Beyond Sculpture, Kishwaukee Art Gallery, Kishwaukee College, Malta, IL TWO-PERSON EXHIBITIONS 2007 Biological Impulses, with Beverly Kedzior, Fermilab Art Gallery, Batavia, IL 2005 Narratives of Biology & Identity, with Beverly Kedzior , Noyes Cultural Arts Center, Evanston, IL 2005 Parallel Utterances, with Gisela Insuaste, The 3 Arts Club, Chicago, IL 2004 Progression of Patterns, with Mark Literski, Center for the Visual Arts, Wausau, WI 2001 Patterns of Construction, with Nancy Rosen, The 3 Arts Club, Chicago, IL 1997 Sculptures and Photographs, with Alice Hargrave, Safety-Kleen Gallery One, Elgin Community College, Elgin, IL 1997 Penetralia, with Ulrike Johannsen, Hyde Park Art Center, Chicago, IL |
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| 网站: www.kaisersmith.com | |
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