In her third exhibition at Linda Hodges Gallery, Sylwia Tur will show a new body of sculpture. Impressions represents a shift from the largely abstract work she produced prior to this. Here Tur makes impressions of household objects, creating a negative imprint that is literal but somehow transcends reality. To see overlapping light switches is to acknowledge how much of life is lived through rote tasks.
Objects of choice and objects inherited leave an impression, but after many years of habitation they become part of a routine. We don’t realize how often we interact with a certain object over time. Tur wanted to raise her own awareness by making an experiment. She counted each time she touched a certain object in a day, such as a light switch, door handle, electric socket, toilet flush handle, cabinet doors, microwave, dog bowl, etc. This repetitive activity of touching the object and then counting each touch resulted in a grid of activity that was classified and recorded.
Using raw clay slabs, Tur makes impressions of these objects according to how many times per day she interacted with them. Each slab of clay represents a single day of interacting with that object. The numbers vary greatly and are dependent on the object, ranging from just a couple (dog bowl) to as many as dozens per day (light switch). The resulting Impressions are not replicas of the objects she touches. Instead, they are the recordings of Tur’s activity, negative reliefs representing the memory of that touch.
Tur achieved a Post-baccalaureate in Studio Art (Ceramics) and PhD in Linguistics, both from the University of Washington. Tur received a 4Culture Individual Artist Project Grant and an exhibition there in 2017 . She is also the recipient of an Artist Trust GAP Grant.
Northwest artist Nicholas Nyland will present recent paintings and ceramic sculpture. His work occupies the margins where sculpture, painting, design and craft overlap. Ornament and surface design become the subjects of works that recall early Modern experiments with color and form and the effects of light through stained glass. This recent work shows a dialogue among media where forms are translated from sculpture into painting and vice-versa.
Nyland is particularly interested in reworking antique motifs from marginalized practices, such as early American decorative arts or stained glass design. Ceramics has become important to his practice because it offers a medium that expresses an immediacy of touch analogous to the marks in painting and drawing while also connecting to a long historical tradition. The inherent tension between a form and its surface design means that the work can operate as a sculpture on one hand and a painting on the other. These works were created during or based upon experiences at recent residencies at the Vermont Studio Center; Ash St Project, Portland; and Chateau Orquevaux, France.
Nyland achieved an MFA from University of Pennsylvania and BFA from University of Washington. Nyland has been included in exhibitions throughout the region including the Tacoma Art Museum, Bellevue Art Museum, and has presented public projects at the Olympic Sculpture Park, and ALL RISE, Seattle. He received an Artist Trust Fellowship in 2008 and was a finalist for the 2013 Contemporary Northwest Art Award from the Portland Art Museum.