Alisa Dworsky





“My creative work includes drawing, printmaking, sculpture, installation and architecture. My work in one discipline will influence my work in another. In general, all my creative work shares an affinity for the integration of prosaic materials, transformed through a change in use or context.

I am engaged through my art in an ongoing investigation into the ways that human beings interact with the landscape, particularly our compulsion to impose geometric systems on the spaces we occupy. I have observed that these “geometries” are often compromised and changed by “nature” – the topography of given site, weather or gravity. This is an extension of my interest in how we look at the landscape and how we represent the landscape to each other. My art is further influenced by textiles, agricultural patterns, computer drawings, topographical maps, construction, architecture and the most basic principle of quantum physics that in all matter there is movement.

I think about how fabrication and construction influence form and how the constraints of a project -site, budget, shipping, logistics, time and available labor- can serve to inspire and stir up a creative process rather than undermine it. My goal is to transform a prosaic space, a largely ignored space, into a charged space and thereby dislodge myself and my audience from the unfocused gaze that so often accompanies our navigation of the everyday world. I will often set up a contrast between the artwork and it’s environment through the use of texture, color and geometry. The temporary nature of the installations amplifies the impact on the audience.

With my recent installations I select linear materials- rope , bamboo, dowels and ribbon- and manipulate them to express drawing in three dimensions while defining space and form. With the crocheted installations I am using a lace making technique called “fillet Crochet”. The dimensionality of this work is in flux; the carabiners and counterweights invert the force of gravity, pulling this two dimensional composition upward, through tension, into the realm of three dimensions. With ’Points of View”, the white stripes painted on bamboo suggest movement and echo the dashed lines in architectural drawings (which indicate an architectural element that is out of view or an invisible boundary line). The blue reflective tape mounted at level on this bamboo armature suggests the surface of water. This reflective material is perceived as a line when viewed from the side and recalls my earlier installation, “Luminous Fields: Longitudes in Time”, in which I mounted 1000 reflectors along a highway. Soledad is a direct response to the poem by Miriam Sagan and is influenced by kite and tent construction. Structural principles play an important role in my work with a particular emphasis on the use oftension.

I use multiple registrations of intaglio plates to create the prints. I create plates with “positive” marks through the use of sugarlift combined with aquatint and through the use of soft ground, as in the Fine Cord series, to capture the texture of a material such as string. In the Indeterminacy series of prints, the “lines” are defined by “negative space” , by the absence of aquatint on a plate. Areas ofplate are blocked out with a wax lithography pencil prior to the plate’s exposure to acid. The color of a line is therefore the color of a previous registration(s) reading through a later registration layer.

My drawings are influenced by my experience in printmaking. In the series, Wave, Particle, Duality, I am making drawings using a relief technique in which I treat the paper like a plate. I compress the paper with a blunt metal tool. I run a stick of graphite over the paper, which marks the surface and leaves the compressed lines that lie below white. The drawings in the installation InTension and in the series Fil de Cuivre, Les Rondelles and Yellow Poly Rope, are also influenced by printmaking; I use pressure to transfer the image by taking a series of rubbings of a strand of rope or wire which is shifted beneath the page. These drawings are simultaneously highly representational and abstract, static and dynamic. This allows for an ambiguity of perception and invites the viewer to experience what I call the “Unexpected Familiar”. [From the artist’s website/ Du website de l’artiste].

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