Moving Water

Moving WaterAn art participation project by Sensory Sites
October Gallery, London, UK, June 19-21, 2014

Glass globe

Water is elusive, invisible and protean. Moving Water is a participatory event that offers a bodily, sensory experience of this precious element. Sculptural vessels containing water and giving it shape are made of sensuous materials such as glass, metal, rawhide and ceramic or found-objects such as shell and bone.Participants explore the vessels and the water in them, moving at will around a room filled with sound and light. An intimate, playful exchange emerges in this collective act of attention and empathy that reveals how our bodies are also vessels of water.Water leaks, spills and pours in an unfolding poetic narrative about water qualities, ubiquity, use, and loss. www.artintouch.co.uk

The event on June 19 is a private view for Rethinking the Senses, an AHRC-funded project of Centre for the Study of the Senses, which brings together neuroscientists, psychologists and philosophers to investigate multisensory perception in everyday experiences: www.thesenses.ac.uk.
This project is supported by Encounter Fine Arts http://www.encountercontemporary.com/ Press release:
http://media.wix.com/ugd/79a5f5_48023a1714744f7787250587642e3da1.pdf

Screen shot 2014-06-19 at 23.01.09 Screen shot 2014-06-19 at 22.53.57 alien2 hands

 

Ovid’s Girls

Ovid’s Girls
Boston Sculptors Gallery
, Boston, MA
June 25-August 3, 2014
Opening reception June 26, 6-8 PM
Gallery Kayafas, Boston, MA
June 6-July 12, 2014

Incarnation

An exhibition of six German and six American women artists showcases sculptures in which materials are metamorphic and integral to the meaning of the work. Organized by independent curator, Anette Schwarz. An exhibition of smaller works by the same artists is also showing at Gallery Kayafas, Boston, June 6-July 12, 2014
Ovid’s Girls was exhibited in another version in two concurrent exhibitions at Kunstverein Tiergarten and Galerie Wichtendahl in Berlin, Germany, April 4-May 3, 2014 and will travel to MEWO Kunsthalle in Memmingen, Germany, Sept-October, 2014

 

5.Narcissus

 

 

Naturalisme Integral

Naturalisme Integral: Galerie Capazza, Nancay, France
Galerie Capazza in Nançay, France, is now representing my work in photography and presenting a new series of photographs in their opening exhibition, Naturalisme Integral, March 22-June 29, 2014.
Galerie Capazza is a superbly restored 17th century building located in the heart of the Sologne, close to the Loire Valley. In exceptionally beautiful, intimate galleries, they exhibit the works of 80 artists with international reputation, representing contemporary art in a range of disciplines: painting, sculpture, photography, glass and ceramics.
http://galerie-capazza.com/

 

Visions/Visiones

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Visions/Visiones: Cuzco, Peru, January-February, 2014
The exhibition was in the Qorikancha, the historic center of the Inca empire. The Spanish built the Convent of Santo Domingo above Inca stone temples surrounding a large courtyard. Organized by Boston Sculptors Gallery member Nora Valdez, it showcased sculptures by members of BSG and Peruvian artists in the stunning open-to-the-air gallery. I made Rio, a site-responsive sculpture during the two-week residency in Cuzco.
Rio turned the arch of the Spanish colonial architecture upside-down, reflecting the forced fusion of cultures in Peru and Inca symbolism by sewing white tracing paper to black foil with black string in a lightning pattern. A golden string meanders across the field.
A drawing made of the same materials as the sculpture was part of the concurrent exhibition of drawings by the same group of artists, Transcripts/Transcripciones, at Galeria Instituto Cultural Peruano Norteamericano del Cusco, curated by Jose Luis Morales Sierra.

 

Generation: Installation at GV Art Gallery, London

SONY DSC

In this collaboration with film-maker Tereza Stehlikova, my sculptures merge with her video in an exploration of themes we found in the Greek myth of Demeter and Persephone. The installation fills the street level of the gallery, representing the earthly plane, and its lower level, representing the underworld. The exhibition reveals the fluid exchange between conscious awareness and unconscious forces, and the contradictions between possibilities and limits that lie at the heart of our embodied lives.

Stehlikova filmed four generations of women–her grandmother, mother, daughter and herself–in their country house in Bohemia, focusing her camera on the bonds and tensions between the generations. My sculptures, made of translucent, amber-colored rawhide, receive and transform the video projections. The projected light animates the sculptures, while their visceral physicality reveals a hidden dimension under the women’s seemingly composed surfaces.

The on-line catalogue may be viewed here: http://issuu.com/gvart/docs/gv_art_-_generation_catalogue/1?e=2372036/4871189

In the Greek myth, Persephone, daughter of Demeter, the Greek goddess of abundance and harvest, is abducted by Hades, god of the underworld. Grieving the loss of her daughter, Demeter creates a famine on earth. The gods pressure Hades to allow Persephone, now queen of the underworld, to return to her mother for part of each year.

 

Tereza Stehlikova is a filmmaker and artist based in London. She is engaged in an exploration of tactility and its relation to moving image, which formed the basis of her PhD research at the Royal College of Art. She is also a lecturer at the University of Westminster and the RCA, and a founder of Sensory Sites, an international art collective committed to making multisensory, collaborative artwork. www.terezast.com.

Stehlikova and I have been in conversation for several years, first collaborating in Just Under the Surface, an exhibition in the Crypt Gallery in 2011, where her video was projected into one of my sculptures, Rivers of Hades: Forgetfulness (Lethe). This sculpture-with-video was exhibited at Sensory Worlds, Inspace Gallery in Edinburgh, later in 2011. We will continue to collaborate, along with Anais Tondeur (another member of Sensory Sites) on a new installation in London in June, 2014, to coincide with a conference called by CenSes (Center for the Study of the Senses), with whom Sensory Sites is collaborating.

Reviews can be read at:
http://www.fadwebsite.com/2013/10/01/review-generation-gvart-a-collaborative-work-by-rosalyn-driscoll-and-tereza-stehlikova/
http://www.wildculture.com/article/generation/1285
http://www.trebuchet-magazine.com/generation-gv-art/

 

 

 

By the Light of the Body

Breathing Ground detail

Big Red & Shiny, the Boston online publication about contemporary art and culture, commissioned and published an article I wrote about the twenty-plus years I’ve been researching touch, the body and the senses through my sculptural work and audience response. The link to the whole article:

http://www.bigredandshiny.com/cgi-bin/BRS.cgi?section=article&issue=145&article=2013-04-09-173510567871286779&printView=true

And to give you a taste of the content, here’s an excerpt from the first page:

“A hidden factor is present when an artist makes a work of art. That same factor is present when a person looks at art. This factor is plainly visible and easily palpable, but remains largely unconscious and unacknowledged, and that is the body—the artist’s body, my body, your body, our bodies.

I arrived at that observation after many years of working as an artist in two dimensions—first painting and then hand paper-making. Then in 1991, I made an artist’s book. This new form expanded my work into the third dimension, and at the same time into the tactile dimension. I was struck by the way a book has to be opened and handled to be known. So I made two book-like sculptures that could be turned over or opened, inviting people to engage the artwork with their hands.

At the same time I became interested in the experience of blindness. An artist friend gave a talk about her work, and afterward a man who was visually impaired said he wished she had described the images she had shown. I was amazed that someone who could not see would even be interested in art, and began wondering how people with little or no sight might experience works of art, which are considered the exclusive province of visual perception. Thinking about my book-sculptures, which could be handled and touched, I began to wonder if touch could convey the meaning of an artwork. Could touching be a way of knowing? That question, and the questions that followed, have informed my work ever since.”

 

The Wilds of the Body and the Earth: Esalen Institute Symposium

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I participated in a symposium at the end of June at Esalen Institute in Big Sur, California, which was called together by Don Johnson, an old friend who teaches somatics at California Institute for Integral Studies in San Francisco. Somatics practitioners, permaculturists and eco-activists investigated “the feeling many of us have that bodily experience, cultivated deeply and inquired into, is an important doorway to overcoming the alienation of humans from other beings, and from each other.”

My contribution to the conversation was a video-sculpture which explores the intimate entwinement of body and nature. Poetics of Skin 2 is a collaboration with multimedia artist Sarah Bliss (http://www.sarahblissart.com). Bliss’ video is projected into a shell-like sculpture made of translucent, amber-colored rawhide. The haunting images of a man and a woman moving together, as seen through skeins of rawhide, seem trapped in the small space of the sculpture, as if inside a body, an animal, or under the sea.The original Poetics of Skin can be seen documented at: https://vimeo.com/rosalyndriscoll).

 

 

 

Nave in Convergence: Boston Sculptors on Christian Science Plaza, Boston

“What a great idea for an outdoor sculpture – giving it a hidden interior! This points to why I am usually indifferent to outdoor works – nothing private about them. These have a secret.”

“….the decadent mystery of the interior calling us to a truth so different from the stark sparseness of the surround.”

“…the raw-hide gives something like strength and softness together inside the monumental twins.”

The following photographs were taken by Nancy Milliken, whose sculpture, Lighthouse,
is across the Plaza from Nave.

 

 

Construction of Nave

Now that my new sculpture, Nave, is installed on the Christian Science Plaza in Boston, where it can be seen for the next six months, I want to acknowledge all the craftspeople and businesses who contributed to the fabrication and installation of the project, listed here more or less in chronological order.

Christopher Lenaerts of Lenaerts Fine Woodworking served as Project Manager, working with me from conception to installation in all phases of design, model-building, construction, problem-solving, and finding resources and materials. He assumed responsibility for the construction, schedule, logistics, subcontractors, and engineering details, as well as for the craftsmanship and aesthetics of the finished product.

Glenn Leonard of Leonard’s Fine Woodworks in Southampton MA worked with Christopher in the construction and installation. Mike Chermesino of Worthington, MA came on for the last month of fabrication, along with Dave Grace of Ashfield, MA.

Tris Metcalfe of Metcalfe Associates consulted with us on the design, construction methods and engineering specifications for the project. In the early stages of conception advice was offered by Todd Lynch of Ecotropy and landscape architect Jon Henson.

Bill Kelly of Kelly’s Meadow Wood in Goshen, MA, offered technical advice for the fabrication of the infrastructure and milled the wood for it with Christopher.

Lyman Sheet Metal in Southampton, MA fabricated the aluminum panels and numerous smaller parts such as chain plates and roof pans. Kevin West managed the project, and Glenn, Keith and Tommy did the cutting, welding and buffing of the panels.

Santini Brothers Iron Works in Medford, MA fabricated and delivered the two steel bases for the sculptures.

Mark Stein of LandMark Company, Hatfield, MA applied finish to the aluminum panels, and researched, ordered and mixed the materials for the surfaces of the sculpture.

Jerry Sawma and Scott Wallace of Bear River Timber Frame, Conway, MA conducted tests and applied the polymer-gypsum material to the surfaces of the sculpture.

John Symanski of Symanski Materials Handling in Easthampton, MA offered logistical, rigging advice and transported the sculpture from the studio to the Plaza in Boston.