MFA Blog Post #7: Oso Bay Biennial

Attended: Key Note, Network Matters, Matter Matters
Covering: Key Note, Matter Matters

Matter Matters

What was the primary theme or concept of the event?
Matter Matters focuses on three different artists with very different processes and mediums and explores the commonalities and variables in their mediums and making.

What did you hear that held your attention as an artist/designer?
I have to be honest; everything Jennifer Datchuk held my attention. While all the artists were amazing people, Jennifer’s talk continuously resonated with me, from her opening with her family and her distinction of “half” and “both” to the question of whether to out yourself to the idea of male spaces vs female spaces.

What did you learn about the artist’s process, product, advice, learned experience...?
What I loved about this talk was seeing so many processes and products and feeling the possibilities opening up. I’m sure a large part of this is that I am currently in a place where I am feeling a little trapped by feeling like I need to work in a “real” process or medium. That is not to say that any of these artists don’t work in a real medium, but simply that legitimate art doesn’t need to rely on a foundational process, particularly when the material or process is fueling a concept.

What did you take away from this experience?
In addition to taking away a sense of freedom and inspiration, I appreciated the inclusion of Liss as an artist who also identifies as an activist. I would love to learn more about the distinction between an artist-activist and an artist who makes art about causes.

Of the Artists included in this event, describe statements he/she shared that spoke to you and that you took note of. Why?
“What did I just see?” This was in reference to the feeling Jennifer wanted viewers to have in reaction to her Ching Chong piece. This kind of idea of questioning yourself and assessing appropriateness and discomfort isn’t something I’ve been able to work into my work, but I’m very interested in the idea of it.
“There is more to direct action than catharsis… direct action is about attention, so give them something to look at.” I didn’t realize until I was writing this post that this quote and the line from Jennifer are almost actually the same thing (and I’m not doing either of them).
“I don’t know if something is a failure or not.” Josephine said this in reference to an idea that because one idea/process/trial may not have value for one project doesn’t mean it won’t have value for the next project resonated with me. None of us know the future, so we don’t actually know if something is a waste of time or a failure or useless. Therefore, how can we know if something is a failure?!

Beili Liu Key Note

What was the primary theme or concept of the event?
Beili Liu shares her installations, process, and background of using her artwork to bridge two very different cultures. Early in her talk, she talked about how the form of the little house is something that is shared across cultures that we tend to think are very different. This theme continued throughout her talk; invisible or subtle connections. However, another theme I picked up on intuitive and fully-formed ideas. The processes she describes are often the physical processes; her mental processes still seem a bit mysterious and magical.

What did you hear that held your attention as an artist/designer?
I was particularly struck by her ability to identify and willingness to share works that marked the beginning of an era for her. For example, the small house that she made during her residency marked the beginning of her life as an artist in America, the sewing piece marked the beginning of her work as a woman artist in her opinion. I was particularly struck by the ideas of these pieces as well; a young woman artist in America feeling empowered by building her own house, and a woman fighting overwhelming fear with persistent action. Repeated: “When I saw ____, I knew ______” (the little house, the barn attic, the wax) “unrelenting fear and uncertainty”

What did you learn about the artist’s process, product, advice, learned experience...?
In addition to elements of physical process (working with wax, using a laser cutter, making clay bricks, etc), I was struck by the (absence of?) the mental process. More than once, Beili said, “When I saw ______, I knew ______.” I deeply appreciate the trust in intuition these statements exhibit.

What did you take away from this experience?
My primary take-away, and the one I think I will hold onto the longest, is the idea of this balance between long, hard, committed, tedious work and commitment to a concept or idea. This is a balance that I already see trying to work itself out in my work, and to see another (wildly talented) artist executing this in another way is impactful.

Of the Artists included in this event, describe statements he/she shared that spoke to you and that you took note of. Why?
“Something simple, something basic, and something persistent.” While I understand that this was a reference to a specific kind of work for a specific piece, I see this phrase reflective of much of Beili’s work, but also of a possible approach to life at large. It feels like a hopeful way to think and work.
“I become at service to the work” This perhaps is a sideways approach to the magical feeling I get in regards to the question of where her work comes from, and then after that… where does any artwork come from?
“I felt this deep sense of inability to help. As an artist, the one thing that I know how to do is make a project.” This perhaps is a less hopeful approach to the same idea that I took note of when Beili said “something simple, something basic, something persistent.” As an artist who is also deeply moved by the condition of the world, I often struggle with feelings of helplessness.