While most of the work in Shadow and Light depicts a narrative or the labors of a repetitive motif, artist Lauren Scanlon takes the use of paper-cuts in a different direction. Using pages from vintage Harlequin romance novels she read at a young age, passed down to her by her grandmother, Scanlon transforms the pages of the erotic fiction by hand sewing their pages together to create a quilt of text and reductive imagery–she uses motifs from floral bedspreads to censor the content and bring a new dimension to the pages. This dichotomy is a reference to her grandmother’s two-fold nature of conservative and taboo.
Tag: Lauren Scanlon
As Guest Curator Reni Gower amalgamates the international works of seven diverse artists, concision and precision perform in the ancient art of paper cutting. With new and exciting twists, the laborious processes employed by these artists permeate a meditative and reflective quality. Such focus charges each piece with a narrative and metaphorical beauty.
In the exhibition, opening June 1st, Tinney Contemporary’s own Jaq Belcher reduces and repeats a single expanse of white paper. Through her contemplative cuts, Belcher gives texture to the smooth and shadows to the light with tags, or lifted areas.
Guest Curator Reni Gower evolves precision into intricate patterns, overlapping and interlocking motifs. Inspired by Celtic knotwork, Gower’s stencils float off the wall to expose the shadowing color of pink and blue, adding dimension and beauty to the exquisite design.
Next, in Lenka Konopasek’s Indoor Tornado II, an imposing tornado suspends from the ceiling, whirling down and impacting the neighborhood below it. The black and white cut paper emit an abstract chaos, while the details of cars and homes add to the destructive reality of a tornado.
As Michelle Forsyth continues with the motif of realistic disasters, May 5, 1958 presents the thistles that grow near a plaque that commemorates the planned explosion of Ripple Rock, an underground twin-peaked mountain in British Columbia. Her second piece, Edwin (Eyewitness) stands as a poetic passage she has found in old newspaper articles. The punched out text on a single sheet of white paper leaves “a lacey absence,” playing on the voided paper and chilling events.
Lauren Scanlon merges pages from paperback romance novels and floral bed sheet designs in work that was influenced by her grandmother’s fondness for both. The delicate handwork and veils of text suggest an intimate, yet innocent mood.
In contrast, Daniella Woolf takes mundane, utilitarian aspects of an ordered life and expresses them as a repetitive, streaming boats made of photographs and personal anecdotes. On a pedestal, an anonymous Japanese artist handcrafted a larger paper boat that holds the continuing motif of paper boats within.
Béatrice Coron uses Italo Calvino’s book Invisible Cities to portray his themes from his fictional world in her three black Tyvek squares. The stark contrast of the black cut Tyvek against the white wall creates a dynamic, if two-dimensional, shadow realm.