Each mesh piece begins in the studio with techniques done by hand and on the loom, and the threads are custom-designed to be fifteen times stronger than steel once intertwined. All of the titles allude to the number of seconds lost during a specific occurrence, with “Earthtime 1.78” referring to Japan’s 2011 earthquake and tsunami and “Earthtime 1.26” speaking to a 2010 tremor in Chile.Ĭontaining innumerable knots and weighing hundreds of pounds, the monumental nets are the product of countless hours and a team of architects, designers, and engineers who interpret scientific data to imagine the original form. The outdoor installations are modeled after geological events that have extensive effects beyond their original locations and the power to increase the planet’s daily rotational speed.
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“Each time a single knot moves in the wind, the location of every other knot in the sculpture’s surface is changed in an ever-unfolding dance,” a statement about the series says. With a single gust of air, the amorphous masses billow and contort into new forms. The artist ( previously) braids nylon and polyurethane fibers into striped weavings that loom over passersby and glow with embedded lights after nightfall. Suspended in public squares and parks, the knotted sculptures that comprise Janet Echelman’s Earthtime series respond to the destructive, overpowering, and uncontrollable forces that impact life on the planet. All images © Janet Echelman, shared with permission To see more of Killing the Negative, head to Phillips’s site and peek into his process on Instagram. He took several of these, and apparently, Roy Styker (the head of the FSA) particularly hated this one, since he punched it twice,” the artist writes. One smaller work (shown below) recreates a selfie that FSA photographer John Vachon snapped “ in a hotel room mirror while on assignment. 2, which runs from October 9 to 20 at Hashimoto Contemporary’s new Los Angeles gallery, are glimpses into both rural and urban life with large-scale paintings of an older farmer, young girl outfitted in a frilly dress, and a panoramic shot of a migrant family and their makeshift living quarters. “When the black voids of Roy Stryker’s hole punch are placed front and center, the reality of just how much power that a single, White man had to shape the narrative re-frames and re-defines the entire discussion,” the artist said in an interview about the first part of the project. Monochromatic and ranging from small portraits to life-sized renderings, Phillips’s works complicate the narratives expunged from the historical record by focusing on a wider and more diverse swath of the population. The ongoing project reimagines intimate portraits and wider shots from that period as meticulous graphite and charcoal drawings and oil paintings in shades of red. When he wanted to reject a photo and prevent its dissemination, he would mark it with a hole punch, an erasure that Tulsa-based artist Joel Daniel Phillips evokes in his striking series Killing the Negative Pt. While vast in number, this collection is understood today as being limited in scope, particularly in relation to its failure to reflect racial diversity, because the head of the FSA from 1935 to 1941, Roy Stryker, effaced images he felt didn’t align with the agency’s goals. Farm Security Administration during those years. Dorothea Lange’s “ Migrant Mother” and Walker Evans’s portrait of the distinctly tight-lipped Allie Mae Burroughs are two foundational shots that establish the period’s visual record, and they accompany the approximately 175,000 photographs also commissioned by the U.S. Nearly a century since it began, the Great Depression is still largely associated with the iconic imagery that’s come to define the era. All images courtesy of Hashimoto Contemporary, shared with permission
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