Q: What's the deal with Art on Wheels?
A: Art on Wheels started out as an idea to get The Art Haus SLC's name and brand into the community. Co-founder Anne Wright originally titled it "Mobile Art" and wanted to use the work as on offshoot of an established organization within the community. This idea morphed with the first project by Morganne and turned into a pop-up gallery. We've sort of run with the idea of using the space as a pop-up event and a way to affordably bring art to a unique space in the city.
Q: How did Impressions develop and what is the show actually about?
A: Impressions really came about when another show we were planning on fell through. So it was kind of born out of this need to show some work and Jendar and I both agreed to just go for it. Really this performance is what I would term "performance as research." We are putting something up but it is sort of out of this idea that this technique could work or this action might come out of that idea. It's really an experiment.
But the idea of impressions as a theme for the night really came from this one day when I was on the subway. I used to ride the subway almost four to five hours a day in New York so I spent a lot of time moving in and out of people and I started to notice how we all moved away from or into each other. I became interested in this idea of how our perception of each other made us move one way or our touch would effect how a stranger was positioned on the subway. The more I paid attention the more you could see people almost doing this dance or the more I would notice how different stranger's touches would make me feel.
So I decided to create a situation where people use a molding exercise, commonly used in modern dance and physical acting, to sort of recreate this experience. All of the portions of the event are born out of this exercise and this idea, just to simply give people the opportunity to engage, observe, and record the art as it happens themselves.
Q: Interactive performance, what is that all about?
A: I'm interested at the moment in how anxious people who don't identify as artists are to engage in creating art, with things like Instagram, etc. I wanted to give people the chance to take that interaction with a creative process a little further so we have opened the exhibit to be as interactive as people are comfortable with. There's the chance to be a performer, to guide and sculpt, and also to document digitally and upload images live as well as on Instagram. The interactive part can sound intimidating but I don't think it is much further from what people are really interested in doing at the moment.
The exciting thing about having an interactive performance is how you can't anticipate what might happen. The spectator really fuels the evening and drives the performance and all it's parts. There's no way to really no where the event might go and how the performance will unfold. I will anticipate, direct, and facilitate as much as possible but the idea is really to give it over to the community and let them come together, use their impressions of the night and each other, to form a piece of art and a performance.
A: Art on Wheels started out as an idea to get The Art Haus SLC's name and brand into the community. Co-founder Anne Wright originally titled it "Mobile Art" and wanted to use the work as on offshoot of an established organization within the community. This idea morphed with the first project by Morganne and turned into a pop-up gallery. We've sort of run with the idea of using the space as a pop-up event and a way to affordably bring art to a unique space in the city.
Q: How did Impressions develop and what is the show actually about?
A: Impressions really came about when another show we were planning on fell through. So it was kind of born out of this need to show some work and Jendar and I both agreed to just go for it. Really this performance is what I would term "performance as research." We are putting something up but it is sort of out of this idea that this technique could work or this action might come out of that idea. It's really an experiment.
But the idea of impressions as a theme for the night really came from this one day when I was on the subway. I used to ride the subway almost four to five hours a day in New York so I spent a lot of time moving in and out of people and I started to notice how we all moved away from or into each other. I became interested in this idea of how our perception of each other made us move one way or our touch would effect how a stranger was positioned on the subway. The more I paid attention the more you could see people almost doing this dance or the more I would notice how different stranger's touches would make me feel.
So I decided to create a situation where people use a molding exercise, commonly used in modern dance and physical acting, to sort of recreate this experience. All of the portions of the event are born out of this exercise and this idea, just to simply give people the opportunity to engage, observe, and record the art as it happens themselves.
Q: Interactive performance, what is that all about?
A: I'm interested at the moment in how anxious people who don't identify as artists are to engage in creating art, with things like Instagram, etc. I wanted to give people the chance to take that interaction with a creative process a little further so we have opened the exhibit to be as interactive as people are comfortable with. There's the chance to be a performer, to guide and sculpt, and also to document digitally and upload images live as well as on Instagram. The interactive part can sound intimidating but I don't think it is much further from what people are really interested in doing at the moment.
The exciting thing about having an interactive performance is how you can't anticipate what might happen. The spectator really fuels the evening and drives the performance and all it's parts. There's no way to really no where the event might go and how the performance will unfold. I will anticipate, direct, and facilitate as much as possible but the idea is really to give it over to the community and let them come together, use their impressions of the night and each other, to form a piece of art and a performance.