While I am pursuing my Master's Degree of Fine Art at the Kunsthøgskolen i Oslo (Khio) I will be keeping a thorough Tumblr blog of my work and experience. Please follow along at http://allyce-allyce.tumblr.com/
detail of a new 9x12" watercolor drawing in payne's grey
As I near the end of this drawing, adding the final layer of intricate detail to the stone and algae-like elements, I reflect. I reconsider my layers of abstracted material and how they interact, how the pooled paint is so different from the shaded transparent layers, the paper's ability to hold in some instances and crumble in others. This internal conversation about material is interesting: it is tied to a code of 'correctness' built by historic visual art practices and my experience in a visual world. I know when it is working, and I know the practical limitations of myself, the physical properties of production, and how much an image can say. The challenging part of the process is the conceptual validation. In the beginning, it is my trust in the idea that spurs production, inspiring me to dramatically clean my studio table and count brushes. As the layers deepen, my attachment moves more towards the material, and what the work wants. I become half-automatic in my reactions and responses, which, while comforting, adds genuine distance between my intention and my product. I am sure this feeling is common; the sculpture who realizes his work on paper, then sends it to the fabricator to have it put together, but how does one resolve the separation? Is it a matter of acceptance and trust? Is that a helpful place to be producing from?
'Air Guitar' is a composite, interactive gif collage supported by New Hive. This is a gestural experiment about the fluid dream of flight and escapism.
You can see the whole interactive work here: newhive.com/allycewood/air-guitar
'Woven Contrails I ' digital drawing & 'Woven Contrails II ' digital drawing
I am happy to announce my digital work 'Infinite Warmth' is now on view at Tumbler Cup Gallery. Tumbler Cup Gallery is a mobile, hand-held exhibition space that showcases a new artwork every two weeks. You can see the work and the various locations Tumbler Cup Gallery finds itself online at http://tumblercupgallery.tumblr.com/_
'Window Lightbox', the gif, originally began as a four-part watercolor drawing; the lower right quadrant of which being the still image seen below.
My drawing process usually begins with a grid-based pencil sketch in which I map out my symbolic elements and their relationships with each other. Once completed, I translate the image onto cotton-based rag paper with watercolor, making new choices regarding color, details, overlaps, and illusions. This tracing depends on the use of lightbox, which in my new studio means the window. I became attached to the superposition of the drawing with the outside world, the still versus the living, the visual block of the window versus the accessible perimeter.
Before begining the watercolor 'final' of any drawing, I spend hours drawing and sketching drafts, moving from rough schematics of perspective and composition, to more refined, 'plausible' imagery. Here you can see the elements cut out to be rearranged. I choose to think of a sheet of paper as an empty room. The objects determine the rules of the space with scale, detail, and composition. Until the objects are 'grounded' the space is entirely malleable.
This new digital artwork in which I combine poetics, color gradients, and edited watercolor paintings - the original painting below
This watercolor drawing, like countless others of mine, is painted entirely in Payne's Gray. This color is cool and complex, highly stable and permissive to reworking and layering, it's blacks and blue's separate in the palette to create minute complexities.
Pete Fleming and I created a series of digital images to display as a wallpaper / paper curtain: the grid was composed of 16 images total in a 4 x 4 format, printed on A4.
We made two versions; the original 'positive' images with the white background and the inverted images. Referencing the infinite scroll of the internet, pixels, and data mapping, we created interlocking images that spanned the pages, and then alternated the pattern and layout. This mixable potential added to viewers 'eye-scan' legibility and concepts of alternative outcomes in processing.
The images where based on currently favored art world materials and their logical opposites:
clip art water droplets / marble fern / mannequin hand braided hair / home depot cinder blocks
For this winter's Open Academy at Khio, Pete Fleming (current MFA Candidate 2017) Pete and I reconfigured portions of our previous exhibition 'ppp :tce tci eee rpv .nte'.
The large wall installation of digital prints was reworked into a draping paper curtain; the tears and distress acquired during deinstall left as clues to it's first life. My video 'Sensitive cells becomes eyes' is on the screen on the floor, with Fleming's work suspended from the aluminum pole/strap.wood tension rigging.
You can see more of Flemings work at www.petefleming.co.uk
'Sensitive cells become eyes' was featured in 'ppp :tce tci eee rpv .nte', looping on my own iphone. This moving image was originally taken from a single piece of textile floating in water; as I layered the single shot over itself, focus is disrupted as the footage collapses, inverts, and blurs. Considering the collaborative nature of this exhibition and the exchange between conceptual clarity and crossed-missions, I wanted to create an opportunity to speak both to the process and the limitations of physical abilities.
Light sensitive cells evolved into eyes / shared ideas inspire production
there is a middle-moment within that development when the vision is valid and transformative
At the White Box Gallery
Exhibition also open Saturday, 7.11.2015 from 12-4pm
Pete Fleming and Allyce Wood construct a system of artifacts, markers or translations of an agreed upon reality. There is that which we know, and that which we understand; there is that which we are told, and that which we come to believe.
My piece 'Overlayer' will be included in "14, 8 x 2 1" an exhibition of Norwegian artists all making work of the same dimensions. To learn more about the exhibition, you can go to the official show website: 14-8x21.tumblr.com, and on facebook here: www.facebook.com/events.
This piece is made from an original ink schematic drawing of a looping pattern. In transferring the image onto the paper, I layered watercolor pigments to evoke the depth of each unit. Rather then following the ink lines, I avoided them, building negative contours. By keeping my hand loose and allowing the paint to pool, I worked over the page from left to right as if I were a mechanized printer.
In these drawings I experiment with limited color schemes, tightness of hand, and layering. In the 'loose diamond' drawing, I mixed vermillion, sienna, and prussian grey directly on the toned paper: I kept the organization of the image very rigid, applying the same measures of fluid paint to each section. The changes are results of the impurities within the paper and the intrinsic irregularities of my gestures.
In 'the same base twice' I literally used the same preliminary drawing to create first one image then the other. By selecting different areas to highlight from the original stencil and switching up the colors scheme, the mimicking nature is both visible and indirect.
A digital schematic by Pete Fleming and I designed. Our intention was to show possible relationships between objects for an upcoming exhibition: video projections, digital prints, suspended screens, and plywood/strap tension systems.
Small Po[r]tions Journal (Seattle) has included my video - poem 'Golden Fleece' in Issue 5. This publication exists as a bound edition, and can also be read online here.
This work came about when researching ancient gold mining processes; one method was to use whole sheep hides as sieves, allowing rivers to run through them, the gold flakes sticking to the hairs. This image is beautiful and quiet; gold-flaked curls. So different from the contemporary industrialized process and the havoc it causes to both man and earth.