Dance :: Art: A Formula
June 29th, 2014 - July 10th, 2014, Installation at Gallery AMAM, Gevgelija, Macedonia
Sponsored by a grant from the City of Gevgelija, Macedonia

How do you convey movement in 2 dimensions? Best not to freeze it or arrest it. Better yet, evoke it. Once your paiinting or drawing is done: fly it from the ceiling; dangle it gently to the floor. Create a work that changes the landscape as you move through it. One formula might be:
Filter the light,
disrupt the space,
drape the air,
make it elegant,
keep it light.
Allude to music and rhythm by making something so formally exciting in quickens the pulse of viewers. (their energy will replace your need for symbolism)
Displace the viewer's place in the room. The solid form you use will create a bodily allegory: 'what was once there can be here,' and 'your body is Here Right Now.'

Now,
why not move
around
this
work?

"Suspension and weight, not form and shape," a great choreographer once told me."The best dance is about that." It's not a literal thing.

Hamlet tells us, "The readiness is all," and a dancer must always be ready—supple in stasis, prepared in non-movement to have his or her body take on an emotion, a shiver, an idea, and then return to stasis just as easily, effortlessly.

We are all dancers when we consider our potential for moving through space and time.

Look up.
Move your eyes, but keep your body still.
Move your body,
but keep your eyes on a fixed point in space.
This is a focus net,
a dance net, a dance landscape (complete with frozen river and moving trees). It will help you focus on what a dancer might feel when he or she is moving.
Dancers take risks,
so
shouldn't
we
?

Ready?!?!

–Sarah Schmerler

Stars in My Pocket Like Grains of Sand,
Lower East Side Printshop, New York City
Curated by Jayson Keeling
Reception: Wednesday, July 24, 6-8pm
On view July 17 through September 15

Lower East Side Printshop is pleased to present Stars in My Pocket Like Grains of Sand guest curated by artist Jayson Keeling. The exhibition will be on view at the Printshop from July 17 - September 15, 2013 with a public reception on Wednesday, July 24, from 6-8pm.
I still believe pattern fascinates on its own. And three-sevenths of a pattern, or even a smaller fragment, can fascinate still more--get us really hunkering down, trying to tease out the whole of the figure in the carpet. Samuel R. Delany Rebecca Bird, Andrew Chan, Heidi duPont, Cristina Moroño, Irena Pejovic, Felix Plaza, Elian Stolarsky, and Liz Zanis.

The eight artists in Stars in My Pocket like Grains of Sand use abstract imagery--sometimes ephemeral, other times impenetrable--to propose and obscure their personal agendas. The works serve as activators for contemplation and healing, and allow the viewers to play a participant role. The strength of these works is their lack of clarity combined with a state of lucidity that engage the viewer in a collective dreaminess and willful distraction. Visitors are granted the expansive creation of internal/external, or existential points of view simultaneously, which encourages their entry into unconscious realms.

Ana Sladetic and Irena Pejovic
Two artist exhibit

Memory - Impression and Imprint
Gallerija Karas, Zagreb, Croatia
September 2013

Between Impression and Imprint

Memory as a concept, is something from the past, seen and remembered. We think of Memory of an object or a place as a Visual Experience, but rarely remember its physical form. In this exhibition proposal, two artists, Ana Sladetic and Irena K. Pejovic, present Memory in it’s physical form.

The work of Ana Sladetic includes a video and work on paper, which speaks about Memory as a transformation from mental and visual to a physical experience. Ana preserves the “memory” of a place, in this case, the Great Wall of China by making Monoprints and taking imprints from the wall, which traditionally would have been done by taking a photo of the Great Wall.

Irena K. Pejovic’s work, Fine Clutter, consists of Monoprints where, Hair, an untraditional printmaking medium is used, to make Monoprints on Rice Paper. By tearing parts of the paper and printing two prints at once, one print becomes a memory – imprint of the first one, and as she makes more prints, it becomes a clutter of memory - individual experiences from print to print. Ghost print of one print, splits one memory and creates a new moment/object. Chine Colle is used, and then removed to present the memory of the chine colle on the base paper. During the printing process, the Hair as we remember it, changes and it loses its structure and becomes a new medium that becomes the memory of the Hair in its present form.

In both artists’ work, the object and the memory of it, is preserved as is, in its pure organic form, unedited and raw, with minimal control and manipulation by the person
(artist) experiencing the event.

Open Studio
Ongoing by appointment

Call to schedule your private tour and hear the artist speak about the process of making the prints.
Groups are welcome.