Made for 4panel. Posted while I was in the wilds of Yellowstone. The title is a junk mail fragment.
taylor price
Alisa U Zemlji Chuda

JVL
todays bird

Janaina Medeiros

shark vs the universe
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trying on a metaphor
Monterey Bay Aquarium

JBB: An Artblog!
sheepfilms
he wasn't even looking at me and he found me
$LAYYYTER
Stranger Things

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tannertan36
Lint Roller? I Barely Know Her

#extradirty
d e v o n
Mike Driver

seen from United States

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seen from Malaysia
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@erincurryart
Made for 4panel. Posted while I was in the wilds of Yellowstone. The title is a junk mail fragment.
In the Studio with Erin Curry
Vermont Studio Center: What are you working on now? Erin Curry: The work I’ve made here are notations for larger installation works. I’m developing a metaphor for us as castaways in seas of information through the use of maritime and space age imagery while alluding to different kinds of navigation and reading machines. Lots of lunarscapes and ropes and nets have been combining with a material that is quickly emerging as one of my favorites: plaster. My works often emerge as a conversation with my materials and suddenly plaster has a lot to say! My time here has been great to finally commit to the materials and forms developing in my head and bring them in to being as objects.
Part of the reason I wanted to come to Vermont in January is that I’m a Floridian obsessed with Arctic Explorers, particularly Swedish aeronaut, S.A. Andreé. He attempted, and failed, to fly a hot air balloon to the North Pole in 1897. Experiencing even just a few weeks of the the cold and snow helped me get some sense of the landscape he was headed towards, even if this was an unusually warm winter.
VSC: What is one material, tool, or item you could not work without? EC: Packing up to come here with limited space in my suitcase, I quickly realized I may have too many favorite tools and materials. However, once I arrived I found the thing that affects my work most strongly is the quality of light in a given space. The winter light here is so much more blue than the light at home. Somewhat related is that permutations of the color white appear in my work as a metaphor for emptiness and fullness. I needed white … and snow.
VSC: What inspires you besides other art and and artists? EC: Science-fiction literature and poetry are important to my practice in ways that I find difficult to articulate. When my hands are busy, but my brain needs something to digest I often listen to early science-fiction especially Jules Verne. Right now, I’m bingeing on “On Being” podcasts and Maggie Nelson’s The Argonauts and reading Chrisitian Bök and Calvino here and there. Each of these author’s work embody a way of being in the world where the process of witnessing and wondering is a creative act. The things I listen to creep their way into the work sooner or later, so I’m careful to curate what comes in the studio with me.
VSC: What role does identity place in your work? EC: I’m a tinkerer and wanderer. Curiosity drives my work and though I have some dread about the sheer amount of information available to us and my finite ability to absorb it, I spend tremendous amounts of time poking around the web learning obscure information ranging from how early Vikings covered their boats to tips on raising silkworms.
VSC: What does community mean to you? EC: The community I appreciate the most is the one of makers (broadly defined). We’re agents of reflection and agency in a culture that often turns to consumption of mass produced things and entertainment for fulfillment. It’s pretty revolutionary, yeah? And then! We get to have dialogue with the rest of our communities working towards better lives. Collaboration is an ongoing creative practice for me and VSC provided an opportunity to begin a couple of projects with other artists and writers. One of them will be an ongoing project with poet, Trevor Dane Ketner responding to Arctic Explorer, Frederick Cook’s My Attainment of the North Pole.
Erin Curry is a multidisciplinary artist based in Gainesville, Florida. We visited her studio in Schultz Sculpture Building during her 6 week residency throughout January and February 2016. You can see of her work here.
Thank you Vermont Studio Center!
Made for 4PANEL
The second strip I made for 4PANEL. Maybe the first figure to appear in my comics?
Studio pan with dying palm from a few days ago. After a couple months away because of teaching and travel I've got about two weeks before heading off again to see what can happen. Lots of loose ends to uncover and follow in here. Sometimes this is the most unsettled time I have in the studio. It's the looking in the fridge to see what might be made for dinner part of making. Today I started pulling on threads by making some small drawings and material studies.
Erin Curry | So Far Santa Fe Gallery Gainesville, FL Oct 7-Nov 13 M-F 10-4 The phrase "so far" can be two opposing things. On one hand it means "up to this point" and on the other it may relay something in the distance. Both interpretations imply being a one point on a continuum. Erin Curry | So Far, opens with a free public reception, 7-9 p.m. Friday, October 2, 2015, at the Santa Fe Gallery, room M-147 at the Northwest Campus of Santa Fe College, 3000 NW 83 Street, Gainesville. The exhibit will remain on view through November 13, 2015. Gallery hours are Mon.- Fri., 10 a.m.- 4 p.m. Admission is free and the gallery is open to the public. Curry, a recent University of Florida MFA recipient, presents a site-specific installation constructed throughout the week and will unveil the completed space at the opening reception. Curry will be in residency at Santa Fe College and will work with and meet the Visual Art and Dance students during the installation process. Curry says of her work, “The fullness of experience is too complex: the present moment, memory, and our expectations all intersect. Try as we might, something is always lost in translation. To me, the sharing of experiences often feels like shining a light through a mist where the reflection obscures more than it reveals, yet it remains an important step in orientating myself in an existence that is fleeting and disconcertingly chaotic. It is this tense desire – to articulate the enigmatic or, at the least, to find comfort in ambiguity- that drives my work.” www.ErinCurry.com
Ley Lines: Poems to the Sea by Erin Curry published by Czap Books x Grindstone Comics
The offing, a sounding, and mapping.
This book is an unofficial sequel to Cy Twombly’s Poems to the Sea. This is the sounding and imprecise mapping of what lies between us, the surface, and the void.
24 pages, Federal Blue ink, Risographed, Saddle-stitched November 2015 $5
Order Here
I'm contributing to 4panel this month. Here's the first strip.
Erin Curry maybe we are the door interactive sculpture plaster basin, liquid, wooden rings, junk mail text, light 2014
Erin Curry maybe we are the door interactive sculpture scrying glass or dark side of the moon?
The first time I visited the web I was nine. We stayed five minutes. Twelve years later I finally moved here.
Nov 3rd's accidental comic 30 days of comics
Erin Curry Static I, II, III relief-printed etching on paper, gridlines drawn with thread, clouds are false bite of the plate
INTERMITTENT TRANSMISSION main panel is 6ft x 9ft wallcircle is 4ft in diameter wood, hand-dyed silk, metal threads, dye, electrical tape, masking tape, mylar, paper, carbon paper, white-out tape
The systems of communication that we rely on to navigate our place in the world are inherently flawed. I draw on references and modes of communication both past and present and aim to highlight the failures of these systems through appropriation and misuse of their intended purpose to guide us. Newspapers, books, maps, HTML code, spoken words and other modalities are undermined by their inability to perfectly transmit information. All of them rely on their materiality to facilitate communication that is still subject to misinterpretation and misdirection by recipients.
We have a deep-seated desire to know, learn, and consume in order to better understand and situate ourselves in the world, however we can never consume everything available to us. In a society that constantly generates new knowledge via the web, libraries of books, and museums of natural history and art, we are drowning in a constant expansion of archives, data, and technology. This expansion and our limited ability to fully immerse and absorb it all, in a moment, a year, or a lifetime leaves us lost at sea, unable to find our bearings. Motivated by this loss of place and time, my work strives to recontextualize this struggle through a poetic exploration of materiality and dislocation. Operating from the fundamental principle that poetics is process, my works utilize mutability, translucency, labor associated with textiles and writing, erasures, and illegible markmaking that illuminate and obscure the internal processing of loss and grief. Rooted in analog translations of digital interfaces, silk becomes screen, mylar becomes window, dye becomes loss, and marks become negations. Delicate, impractical materials elicit ephemerality, and become an illegible web of liminal communication, erasing the places we think we know, bookmarking what isn’t there, and rewriting questions about what could or will ever be in our consciousness. We wander.
tl:dr Communication is hard, I point this out.
silk on silk in progress
The studio right now.
Erin Curry pt I of unnamed comic book made within 24 working hours on translucent mylar with ink, graphite, whiteout tape, tape, nontext, and bubbles 14” x 11” 2012 This comic was begun on a truncated 24 hour comic day in October at The Sequential Artists’ Workshop in Gainesville, FL and finished two months later in December. The number of pages was fixed and the marks layered until they started to suggest a sense of fitting in place and then were worked on until they did.
A sincere thank you to The Sequential Artist’s Workshop for the space and use of equipment, Tom Hart for looking at it so carefully when it was done, and Eric Taylor whose excitement encouraged me to finish.
Erin Curry
untitled
digital printed freckles on tissue, wildflowers, tape, thread, string
2013
made in Limerick Ireland