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How little is enough? How much can be taken away before a piece crumbles? My process of reduction is ultimately intended to be an act of generosity. In each piece I’m looking for the point at which reductions give the most. It’s an appealing contradiction because it prompts one to reconsider the concept of abundance and the nature of giving. |
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| 2012 |
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Tangerine
Old Stone Bank, Providence RI
presented by Cade Tompkins Projects
(special thanks to Barrett Bready)
April 28, 2012
Tangerine was presented as a one-time performance installation at the former Old Stone Bank building, a grand neoclassical structure modeled on the Pantheon in Rome. A light and sound project, Tangerine featured an orginal guitar composition performed live by musicians Mac Randall, Nich Haber, Tom Gavin, Rob Kemp and Christian Caldarone. The guitars were played using Fender Bandmaster amps.
The piece explored the visual experience of a sound-based encounter. Employing the same reductive means as in my other installations, I isolated the components that I find central to the experience of a live rock show and made those components the sole elements in the work. The bank building was an ideal location in which to site the piece as it represents the intersection of pantheistic worship and hard nosed commerce. And that's rock. |
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Tangerine
lighting, original guitar composition, Fender Bandmaster amps
site specific performance installation
(music composed by Mac Randall and Nich Haber) |
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Rob Kemp, Mac Randall, Nich Haber |
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Fender Bandmasters |
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oculus |
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rhythm..distance
Cade Tompkins Projects, Providence, RI
April 13 - May 31, 2012
A solo exhibition of new works on aluminum, a print edition and a site specific installation.
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rhythm..distance
2012
fabric, original drum recording
93" x 120" x 24" |
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caesura
2012
lacquer on aluminum
19" x 124" x .5"
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dolce
2012
pigment print on metallic photo paper
16" x 24"
edition of 17
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dolce - detail |
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flam
2012
anodized aluminum
four panels: each 12" x 12"
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deceptive cadence
2012
pigment print on aluminum, acrylic paint
11" x 39"
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fermata
2012
Fender grill cloth on stretcher
19" x 28" x 2.5"
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MINUS SPACE en Oaxaca: Panorama de 31 artistas internacionales
Multiple Cultural Venues in Oaxaca, Mexico
Curated by Matthew Deleget + Emi Winter
March 15 - April 30, 2012
The exhibition MINUS SPACE en Oaxaca has two facets: a survey of recent editions and multiples by 31 artists at the Instituto de Artes Graficas de Oaxaca (IAGO), and four large-scale, site-specific works simultaneously presented at Museo de Arte Contemporaneo de Oaxaca (MACO), Museo de los Pintores Oaxaqueños (MUPO), Biblioteca Henestrosa, and IAGO Juarez. The exhibition included my temporary site-specific pieces Measuring a Summer's Day at Museo de Arte Contemporaneo de Oaxaca and Homero at IAGO. Daniel Gottin, Russell Maltz and Jan van der Ploeg also made site-specific pieces for the exhibition.
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Homero
acrylic paint
site specific installation
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| 2011 |
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3
Chazan Gallery, Providence, RI
September 15 - October 5, 2011
A three person exhibtion with Tayo Heuser and Lisa Perez. |
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Try to Taste the Sugar in the Salt
chiffon
8' x 4.5' x 18'
site specific installation
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BAU Institute Residency
During the month of June I spent several weeks in Otranto, Italy as a Fellow in Residence with BAU Institute. The residency provided me with time and space to consider my practice and develop new work. My unique studio space, located in the Castle of Otranto, became central to my experience there and was the site of a temporary installation. |
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Best Day Ever
adhesive vinyl
16' x 18' x 11'
site specific installation
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Palermo
Plexiglas, nails
23" x 13" x 1"
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Ebb & Flow
The Butcher Block Mill, Providence, RI
Curated by Neal Walsh and R.K. Projects
March 24 - April 23, 2011
This group exhibition of installations and site specific work was organized to complement the renovation of the former Easten Butcher Block building, an ambitious preservation project. At the time of the exhibiton, much of the building was still a gritty construction site. In response to that I chose to work with gold lame and metallic vinyl, "fancy" materials that are at odds with their environment. |
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I can change, I can change, I can change, I can change
gold lame, vinyl, glitter
30' x 11' x 14'
site specific installation
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Fluid
Towson University, Towson, MD
Curated by Susan Isaacs
February 9 - April 9, 2011
To celebrate the 75th anniversary of American Abstract Artists, three artist members, Marthe Keller, Rossana Martinez and I, were invited to create textile-based installations at Towson University's Center for the Arts. AAA was founded in 1936 to expand ideas and promote the exposure and understanding of abstract and non-objective art. |
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Bourbon as a Second Language
chiffon, vinyl
18' x 6' x 10.5'
site specific installation
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installation views of dance performance by Vincent Thomas and VT Dance |
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Baltimore Headlights (left)
vinyl curtain
8' x 6' x 4'
(shown with work by Rossana Martinez)
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Baltimore Headlights (side view) |
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| 2010 |
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Stringer
Plexiglas
77" x 4" x 1" |
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Gardening at Night (from a group of 4 drawings)
gouache and acrylic on paper
8" x 8"
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touch
ParisCONCRET
Paris, France
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Schoodic Point 1 - 3
Plexiglas
12" x 12, 4" x 4", 8" x 8"
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installation views |
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The Radiant Hour
The Chapin School
New York, NY
May 17 - June 13, 2010
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The Radiant Hour
vinyl curtain, tape
80" x 65" x 10"
site-specific installation
courtesy the artist and Cade Tompkins Projects
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Kill the headlights and put it in neutral
Cade Tompkins Projects , Providence, RI
April 16 - May 29, 2010
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Kill the headlights and put it in neutral
vinyl curtains
67" x 67" x 67"
site-specific installation
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Postscript
The RISD Museum of Art, Providence, RI
April 24, 2010
Postscript is a collaboration with dancer and choreographer Mary Paula Hunter and JUMP! Dance Company. This drawing performance project was presented as part of The Big Draw, a celebration of drawing offered in conjunction with the exhibition Pat Steir: Drawing Out of Line. |
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Postscript
dance performance on five birch plywood boards
white acrylic paint on birch plywood
boards: 4' x 4' each |
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dance performance drawings on birch plywood boards
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| 2009 |
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555 Hudson
A project for Providence Art Windows
Eddy Street at Westminster,
Providence, RI
December 5, 2009 - March 10, 2010 |
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555 Hudson
chiffon, gold tape
12' x 18' x 5'
site-specific installation
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515 Chalkstone
Providence, RI
A project for the Smith Hill Community Development Corporation |
| HousEART is a program of the Smith Hill Community Development Corporation that invites artists to make art on vacant neighborhood houses owned by the SHCDC that will soon be renovated and offered for rent at affordable rates. The art is temporary, remaining only until the property is transformed into quality housing. It was a pleasure to make a piece for this program. My sincere thanks to Providence artist Rebecca Zub for her generous help. And thanks also to Ariana, Gabby and Lena for their wonderful contributions. |
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At the Seams
The Skydive, Houston, TX
Curated by Ariane Roesch |
| This project, organized by artist and curator Ariane Roesch, paired the work of Zurich-based writer Brett Davidson with my visual art. Our collaboration developed through months of email correpsondence between us in Houston, Zurich and Providence. My site-specific installation, Slow Your Ride, is a response to those emails and the final selection of Brett's writings. |
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Slow Your Ride
chiffon, gold tape
interior space 8' x 14' x 10'
site-specific installation: The Skydive and building exterior
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de/construct II
150 Chestnut Street, Providence, RI
Curated by Allison Paschke |
| Nineteen artists were invited to create site-specific pieces in a loft space about to undergo demolition. Each of the pieces addressed the particular architecture of the place. The Rail uses color to divide the interior spaces and also to heighten the views outside the windows where numerous highways and industrial buildings are painted with the same shade of blue as that used in my installation. |
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The Rail
chiffon, acrylic paint
9' x 26' x 1'
site specific installation
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Tropic 1, 2009
acrylic on paper
12" x 15" |
Tropic 3 , 2009
acrylic on paper
12" x 15" |
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Tropic 6 , 2009
acrylic on paper
12" x 15" |
Tropic 7 , 2009
acrylic on paper
12" x 15" |
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| 2008 |
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Providence Art Windows
Fulton Street, Providence, RI |
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Tropic
chiffin, tape, Plexiglas
12' x 15' x 3'
site-specific installation |
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American Abstract Artists: Tribute to Esphyr Slobodkina
The Painting Center, New York, NY |
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Bottom of the Sea, 2008
Plexiglas, crystals
12" x 12" |
detail view |
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| 2008 Selected Studio Work |
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Netherland, 2008
copper, crystals
16.5" x 23.5" |
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detail views |
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The Songs 1-7
chain-embossed paper
14.5" x 10.5"
unique series of prints
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BEAT, 2008
silkscreen on paper
21" x 21"
edition of 10
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Dedicated to All You Are-1 (from a group of 6 drawings) , 2008
acrylic paint, crystals on paper
20" x 26"
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detail view |
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Dedicated to All You Are-2 (from a group of 6 drawings) , 2008
acrylic paint, crystals on paper
20" x 26" |
detail view |
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Dedicated to All You Are-3 (from a group of 6 drawings) , 2008
acrylic paint, crystals on paper
20" x 26" |
detail view |
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Dedicated to All You Will Be, 2008
acrylic paint and 11 crystals
site specific installation drawing
orange square: 22" x 22"
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detail views |
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| 2007 |
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BEAT
MINUS SPACE project space, Brooklyn, NY
Curated by Matthew Deleget and Rossana Martinez |
In December 2007 MINUS SPACE presented BEAT. The piece translated an earlier work, Lena's Beat, from an intimate wall piece to a large-scale installation and performance. BEAT combined specific, yet inherently unrelated elements: color and music. The shared space and resulting energy were the focus of the work.
The performance took place on Saturday, December 8, from 4-6pm, and consisted of two hours of solo drumming by Peter Catapano, Paul Corio, David Grollman, Nancy Polstein and Douglas Witmer. BEAT was a collaborative work that was completed by the participation of the drummers and all those who attended. |
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BEAT, 2007
acrylic paint, drum kit, live performance with musicians
painted square: 8.5' x 8.5'
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| David Grollman |
Nancy Polstein, Paul Corio, Peter Catapano |
Douglas Witmer |
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Material Matter
Sideshow Gallery, Brooklyn, NY
Curated by Katherine Griefen |
Thin pieces of gold-plated chain hang from selected points on the ceiling to form a piece that simultaneously fills the room and is nearly invisible. The installation, The Reason I Sing, is inseparable from the room that supports it. A person in the room is in the work. As a result, the viewer and the work share the space and collaborate with one another.
The gold metallic surface of the chain has a wide range of associations, spanning many eras and locations. Ethereal, iconic, urban. It's familiar but hard to pin down. |
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The Reason I Sing, 2007
gold-plated chain
site specific installation, room 10' x 22' x 25'
gallery views
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detail views |
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All is well that begins well and has no end
80 Washington Square East Galleries
New York University, New York, NY |
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Norse Wall (variation), 2007
Plexiglas
40" x 102" x 13"
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detail views |
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Escape from New York
Sydney Non Objective, Syndey, Australia
Curated by Matthew Deleget |
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When was the last time you danced? (detail), 2007
gold plated chain, brass pin
51" x 1/16" x 1" |
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| 2007 Selected Studio Work |
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Shine Like a Song
copper pipe, gold plated chain
36" x 17" x 1"
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detail
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Certain
Plexiglas, uphostery nails
12" x 12" x 1/4" |
additional view
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The Weather is Sweet
This project is a collaboration with Rossana Martinez, a Minus Space artist. Part drawing, part performance,
the project is a pair of walks. In winter and summer Rossana and l walked from our studios through the city to meet at the midpoint between our spaces. As we walked, our bodies traced a line through the streets, creating an invisible drawing on New York.
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Summer Walk
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| Winter Walk |
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| As an extention of this performance piece I produced Plexiglas and thread drawings that trace our route through the city. The drawings accompany the photo documentation as a lasting representation of our walks. |
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The Weather is Sweet - Drawing I, 2007
Plexiglas, thread
12" x 12" |
detail
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| 2006 |
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Presentational Painting III
Hunter College Times Square Gallery, New York, NY
Curated by Gabrielle Evertz
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Unexplained Fires, 2002/2006
Plexiglas, acrylic paint
Plexi panels: 4' x 4' each, room size variable
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Lithe, 2001/2006
aluminum screen, acrylic paint
10' x 5' x 5' |
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I Can't Quite Place It...
Smack Mellon, Brooklyn, NY
Curated by Elizabeth Grady
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Using unusual approaches to navigating spaces and occupying places, the artists in I can’t quite place it… radically alter their environments, transforming them in an effort to subvert structures both architectural and social. |
Addressing the nature of perception and our movement through space through their insistently human scale, installations by Lynne Harlow have a formalist elegance that belies their sophistication. By reducing her interventions to simple geometric forms comprised of painted surfaces and light, permeable materials like fabric scrims, and hardware cloth, she creates a weightless atmosphere suffused with light.
- Elizabeth Grady, Curator |
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An Echo of Solitude
chiffon, tape
144" x 66" x 1"
site specific installation |
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Intellectual Rigor
Marymount Manhattan College, New York, NY
Curated by Millie Burns
In this two-person exhibition, my light-reflective Plexiglas drawings were paired with the dense, tactile drawings of Minus Space artist Li Trincere. |
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Shake Some Action, 2006
Plexiglas, nails
9" x 39" x 1" |
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For Savion Glover 1, 2006
Plexiglas, brass nails
12" x 12"
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For Savion Glover 2 , 2006
Plexiglas, brass nails
12" x 12" |
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For Savion Glover 3 , 2006
Plexiglas, brass nails
12" x 12" |
For Savion Glover 4 , 2006
Plexiglas, brass nails
12" x 12" |
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The Searchers
White Box, New York, NY
Curated by Patricia Maloney |
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The Searchers is an exhibition of paintings, works on paper, video, and sculpture exploring the contradictory and lingering cultural impact of the frontier in the American psyche. The included works swagger with bravado and poke fun with sly humor, evoke a sense of longing, and underscore the fine line between a utopic and dystopic vision, where optimism gives way to compromise and resignation.
- Patricia Maloney, Curator |
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Limitless and Lonesome
acrylic paint, bench, original recorded music
paint: 90" x 120", room size variable
music by Haber/Randall/Zemelko |
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| Installation view at White Box |
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| 2006 Selected Studio Work |
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Lena's Beat
acrylic paint on paper, original music on cd
drawing: 21" x 21", cd: 4.75" diameter
piece can be made as large scale installation and/or performance
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Gulhane Park
copper on wood panel, acrylic on wood panel
each panel: 10" x 10" x 1/2"
Panels hang on opposite walls precisely facing each other
at a height of 53".
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Play Summer Wind
Plexiglas, brass nails
8" x 8"
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| 2005 |
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New Prints 2005 - Autumn
International Print Center New York, New York, NY |
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| IPCNY organizes New Prints exhibitions to showcase printed works made within the last year. Works are selected by a panel or an individual and the resulting shows underscore the broad range of contemporary prints. |
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Limitless and Lonesome
silkscreen on paper, original music on cd
paper: 22" x 30"; cd: 4.75" diameter
edition of 10 |
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| 2005 Selected Studio Work |
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Stealing Honey from a Swarm of Bees
Plexiglas, matte medium, foam
drawings: 8” x 8” each, box: 2.25” x 8.6” x 8.6”
open edition
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| View of Stealing Honey, private collection. |
additional view |
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Four Kicks
pair of Plexiglas boxes
each box: 4" x 24" x 24"
edition of 10 |
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Perfect Dresser 1 - 3 (from a series of 6 drawings)
gouache on paper
8" x 8" each |
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| 2004 |
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There is a Light That Never Goes Out (concerning the spiritual in art)
dumbo arts center, Brooklyn, NY
Curated by Michael Wilson |
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Wade
cotton lycra, acrylic paint
site specific installation, dumbo arts center |
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4 x 4 x 4
New Arts Program, Kutztown, PA
Curated by Linda Francis |
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The Audacity of Hope
chiffon, acrylic paint
113" x 64" x 53"
(permanent floor mural by Keith Haring) |
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| 2004 Selected Studio Work |
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Yema
chiffon, acrylic paint, original recorded music, grapefruit & cucumber scent
room size: 13.5" x 14" x 16", may vary |
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Swagger
copper pipe, satin
1.5" x 36" x 1/2" |
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| 2003 Selected Studio Work |
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I spent a good part of 2003 exploring ways to use both wall and floor to create installation pieces that encourage movement and response. I wanted the viewer to be a participant, setting up a relationship of collaboration between us. I looked for ways to do this with as little as possible, making full use of color and material and, most importantly, space. |
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A Truer Sound
chiffon, acrylic paint |
The Warning, Musical
copper pipe, acrylic paint
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The Hour, Irrevocable
copper pipe, acrylic paint
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To Carve the Wolf
chiffon, acrylic paint |
To Lure the Wolf
chiffon, acrylic paint
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Spring Hill
copper pipe, acrylic paint
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| 2002 Selected Studio Work |
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Shekure
silkscreen: lacquer on copper
18" x 18"
edition of 10 |
View of Shekure, private collection.
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In the spring of 2002 I spent a month at the Chinati Foundation as a visiting artist. During my time at Chinati, located in the remote west Texas town of Marfa, I encountered light, space and color as I never had before. Mouth Full of Harmony, a site specific piece, was my ongoing project there. |
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