Artist

Patti Bleicher and Eileen David started Gallery Loupe in Montclair, New Jersey, United States, six years ago. They show a roster of both established and emerging international artists and are interested in furthering the dialogue that contemporary jewelry evokes. In February they asked Kiff Slemmons, an established American artist, to show her most recent work in an exhibition called Huesos. I caught up with Kiff and asked her a few questions about her work and her interests.

Susan Cummins: Kiff, I know you have been working with artisans in Oaxaca, Mexico for the past ten years and that these paper pieces represent work you did with them. Please tell me something this project and the resulting work.

Kiff Slemmons: These pieces emerged from an art residence at Arte Papel Oaxaca. The artist and  members of the atelier did the work together. Early pieces referenced African jewelry with discs built up into sculptural bead forms. Later pieces exhibit the techniques of folding, cutting and hollow-punching, rolled and formed paper pulp. The atelier is dedicated to ‘reviving the pre-Columbian tradition of making paper from natural fibers.’ The result of this project is a collection of paper jewelry, which is highly sculptural and utilizes indigenous plants, fibers, natural and synthetic dyes. 



 Talking about paper in Oaxaca involves countering assumptions about the material, its fragility versus strength, the metaphoric implications of paper in this regard, in relation to books and the culture at large. What paper meant in pre-contact culture in Mexico, its magnified significance after conquest and its current place in culture today. How I came to work as I did there means looking at my previous work, how it might have led to such a project which involves a kind of world view through jewelry and writing. My work is really not technique determined, even with the paper. It’s ideas that interest me first and the possibility of being poetic in a visual language.

Patti Bleicher and Eileen David started Gallery Loupe in Montclair, New Jersey, United States, six years ago. They show a roster of both established and emerging international artists and are interested in furthering the dialogue that contemporary jewelry evokes. In February they asked Kiff Slemmons, an established American artist, to show her most recent work in an exhibition called Huesos. I caught up with Kiff and asked her a few questions about her work and her interests.

Susan Cummins: Kiff, I know you have been working with artisans in Oaxaca, Mexico for the past ten years and that these paper pieces represent work you did with them. Please tell me something this project and the resulting work.

Kiff Slemmons: These pieces emerged from an art residence at Arte Papel Oaxaca. The artist and  members of the atelier did the work together. Early pieces referenced African jewelry with discs built up into sculptural bead forms. Later pieces exhibit the techniques of folding, cutting and hollow-punching, rolled and formed paper pulp. The atelier is dedicated to ‘reviving the pre-Columbian tradition of making paper from natural fibers.’ The result of this project is a collection of paper jewelry, which is highly sculptural and utilizes indigenous plants, fibers, natural and synthetic dyes. 



 Talking about paper in Oaxaca involves countering assumptions about the material, its fragility versus strength, the metaphoric implications of paper in this regard, in relation to books and the culture at large. What paper meant in pre-contact culture in Mexico, its magnified significance after conquest and its current place in culture today. How I came to work as I did there means looking at my previous work, how it might have led to such a project which involves a kind of world view through jewelry and writing. My work is really not technique determined, even with the paper. It’s ideas that interest me first and the possibility of being poetic in a visual language.

You may have noticed that we are featuring six galleries each month on the AJF website homepage  and I wanted to get the low down about some of the shows that are up in February. I was curious for more insights from either the gallery owners or from the artists. Taboo Studio in San Diego, California, is the first up. They are presenting a show called Color and Form running from February 10 to March 23, 2012. The show features work by Brooke Marks-Swanson, Heather Guidero, Ananda Khalsa, Valerie Mitchell, Joan Parcher, Munya Avigall Upin, and Barbara Uriu. Joanna Rhodes and Jane Groover, co-owners of Taboo Studio, thought that an interview with Brooke Marks-Swanson would provide a flavor of the show and offer special focus on an artist they represent. Marks-Swanson is from South Bend, Indiana and studied at the University of Illinois at Urbana-Champaign and Indiana University, Bloomington, Indiana.

Susan Cummins: How long have you been represented by Taboo Studio?

Brooke Marks-Swanson: I was first invited to be in a show in 2008 and then Jane saw my work at the AJF Geography show this past summer and was gracious enough to invite me again for the current show, Color and Form.

Given your participation in the Geography show, would you say that what you do is influenced by where you live?

Absolutely.  For the longest time I was drawn to the infinite horizon; mostly with the point of contact where the land and the sky meet. Upon further study of my surroundings, I am more interested in the connection between a sense of place, elements from the natural world and the dialogue that develops between the two.