July 22– Aug 29, 2020
This exhibition features installation works by four regional artists Marilyn Larson, John Saurer, Elizabeth Simonson and Michon Weeks. Each artist has developed a specific visual language that aims to shift viewers’ perspective toward a more meditative view of the world, either through repetitive forms, mathematical theories, grid systems, or circular structures. The exhibition will also feature 30 drawings created by community members in two, free workshops based on the book by Frederick Franck: “The Zen of Seeing: Seeing/Drawing as Meditation” presented in a continuous installation.
Marilyn Larson is a Minneapolis-based artist, ceremonialist, and labyrinth maker. Since 1996 she has been building contemplative labyrinths for wall, floor and outdoors. Labyrinths have been found worldwide over the past 5,000 years. Patterns found in nature are reflected in walkable art called labyrinths. A labyrinth is an enclosed meandering path that leads into a center and out again. A sacred space is created each time we trace the form of a labyrinth with eyes, fingers, or feet. A labyrinth is also a mirror and a listening device. Intentions set upon entering the image invite response. Wherever found, labyrinths continue to offer an opportunity to experience a pace that can bring inner peace. Like the meandering movement of a river that revitalizes water, the ever-turning, rhythmical walk of a labyrinth calls forth clarity.
I created this monoprint series of over 100 impressions of simple objects collected at my feet, off the ground (natural and man-made, beautiful and ugly). I am intrigued by the “multiple” and the potential to construct a larger composition from a single print matrix and the “ghosts” of previous impressions as the series moves forward.
My artwork is a metaphor for order: sometimes re-expressing order found in the landscape, a mechanical process, the rhythm of form, personal relationships, and the life around me. Each work is often a collaboration of many independent parts that are crafted to come together and express a larger whole.
My work is structured through the creation of repetitive systems. Where better can this order be found than in the building blocks of life? From simple molecular structures to complex organisms, life grows blindly, motivated by creating self sustaining structures that foster survival. I see my work as an aspect of nature.
It was not my intention to create system-based art, but I feel that abstraction and the use of logic, systems and patterns is a powerful language, and it is important to me that the viewer has an accessible path to share in my exploration of it. I use common everyday materials like tape, wire, beads, tiles, fishing line, office supplies or anything that comes in multiples as my inspiration. One pattern may involve covering from ceiling to floor, a wall or room with consecutive rows of tape. Each successive layer conforms to the imperfections of the previous row where by a subtle crease evolves into a voluminous shape. The enormous task of both building and attaching the units underscores the complex relationship between a rigid and fixed system with the limitations of the material and the maker.
Born and raised in Washburn, Iowa, Michon Weeks moved to Minnesota to attend the University of Minnesota, Minneapolis, where she earned an MFA in Drawing and Painting. As a painter, I work to see as concretely as possible what my mind can think and imagine. I use familiar objects from my surroundings as subject matter, painting to see a materialized view of each object distilled through my paints, tools, hands, brain, senses, heart, and gut. Blocky-shaped objects in disagreeable colors, along with my mistakes, edits, and dabs of unpolished doubt are unconcealed in the paintings.