Re-sampling (2013).
Exhibition location:
Westchester Community College,
Valhalla, NY.
9’ 3” x 10’ x 4”.
Beeswax, tree
resin, muslin, brass,
graphite. Photo
credit: Fred Hatt.
them digitally. The layering and cropping effects
this technology offers speed up the making,
although I still subject this work to the same
methodology as my hand drawings.
I see the relationship of each visual translation to its predecessor as linear, orderly, and
progressive because I know the sequence has
a direct connection to my current inquiry. But
should you view these visual considerations, you
would not see them as sequential, for you are
not carrying around all the notes, experiences,
readings, and conversations that I have been
exposed to. Understanding the disjunction between what I know and what you see—because
you, the viewer, are missing so many particulars—I now think of my visual documentation
as information that “skips a generation.”
Finally, there is a fallow period. I walk away
for a bit, let my mind’s dust settle and, hopefully, forget a bit of what I’ve learned in order
to move the work to the next place less encumbered by facts. I will step back into hand drawing the digitally altered works, or continue to
alter the last digital drawing. Eventually I reach
SciArt in America April 2014
what feels like a logical stopping point, where
the process leads me into making an environment.
MG: What roles do scale and repetition play in your
work?
LF: I’m interested in installation-based work
where the architecture serves as the “host”,
the art as the contagion, and the viewer the
next victim. In each installation, the viewer is
confined and isolated to a restricted area—not
quite quarantined, but definitely steered in a
particular direction. Implementation of Adaptation pushes the viewer to the perimeter of a
gallery. A Pattern of Connections requires you to
be constantly looking above you. This physical
relationship of the viewer to the work immediately and compellingly shifts the perspective of
macro (human) and micro (contagion).
I’m drawn to Eva Hesse’s suggestion that
if something is meaningful it might be worth
repeating. It’s not possible to think that the
making or telling of the same thing over and
over again hasn’t led to mutation or exaggeration. This becomes part of the visual folklore.
Diseases mutate, as does human information
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