for kites imagined, but not yet made
collected in early 2012
We seem to be mesmerized by abstraction; in cloud gazing we make a game of seeking recognizable shapes in the sky, while in more oracular traditions, significance is wrested from coffee grounds and ink blots. My own fascination -and unease- with chaos manifests through the repeated creation and preservation of tangled and amorphous masses in the attempt to find comfort within delicate systems of complexity.
That my materials have their own idiosyncrasies and respond to manipulation in sometimes unexpected ways is central to my process. The linear elements of the Morphosis pieces are printed with graphite powder and thread I spin from cotton fluff on a tiny brass spindle and then allow to tangle beneath my hands. My inks are mixed with other materials to relinquish some control of the final form and color, but allow more opportunity for subtle shifts and surprises. Color has been rare in my work until recently when permutations of blue began surfacing as I found myself thinking of the mind as a fountain of ideas, stories, and memories. The translucency of vellum and other paper layers translate to quiet reveries where interpretations murmur beneath the surface -sometimes audibly.
|Erin Curry. Morphosis #14. archival ink, graphite on panel under mylar|
|Erin Curry. work in progress. a more perfect shade of blue. 7ft x 3ft. acrylic on paper.|
|Richard Serra. Verb List. 1967–68. Graphite on paper, 2 sheets, each 10 x 8" (25.4 x 20.3 cm). The Museum of Modern Art, New York. Gift of the artist in honor of Wynn Kramarsky. © 2011 Richard Serra/Artists Rights Society (ARS), New York|
|Erin Curry. tangleblot (same but different ○). ink, handspun thread graphite print under mylar on wood. 6"x6" ©2012|
to make thick
tuft of wool
near ground, small
to heap up
light pass through
sail of ship
piece of cloth, shred