The printing process involved inking each plate individually and pressing it into each sheet by driving a car over it to emboss the plate image into the saturated paper. Each piece was rolled over ten times with a car revealing various degrees of chance in the imagery. The original monoprint plate was produced using hand-etched plexiglass. Using black printmaking ink on 100% cotton 22×30 Arches 88 printmaking paper, the prints were individually processed, then hand painted using ink, gouache, and acrylic paint to highlight and color code the vowels using purple As, yellow Es, orange Is, blue Os, and green Us. The final layer is a hand cut transparent material affixed to the image surface machine stitched with orange thread.
* More on Nina: cxsilvergallery.com/nina-isabelle
* More on Nye: cxsilvergallery.com/nye-ffarrabas
* Inquiries: Adam Silver (802) 257-7898 x1, email@example.com
Nina Isabelle is a process based artist working with language, perception, action and phenomena. Her approach frames the interlacement of multiple art modalities, including recursive photography, video motion-studies, fugue mark-making & notional painting, gesture abstractions & movement, along with task-based performative actions and object construction, as research tactics used to locate, decipher and authenticate lateral vantages, perceptions, and information as a way to reinspect and rescript narratives & notions.
Isabelle identifies with Maximalism and Action Art and works to push material and information past the point of recognition in a way that forces a shift in meaning as a way to reveal new information that can transform and challenge the limits of material, perception, approach and belief. Her approach aims to deconstruct sensory input to the extent that meanings becomes shifted and interpretation can become a phenomena of psychic imprint. Referencing the failure of dialogue, the dissonance between form and content, as well as the shortcomings of literal language & the superimposition of objects, Isabelle frames her process as both an inquiry and a demonstration of a recursive method that highjacks the results of prior work in order to cultivate future outcomes in a process akin to an AI robot discovering how to make sourdough bread out of itself.
Isabelle is the founder and organizer of Three Phase Center for Collaborative Art Research & Building where she facilitates and documents artist’s process, projects and presentations. Currently she is interested in developing differential definitions of process and approach by understanding how sequence and simultaneity impact concept and action when interlaced with physical material, documentation, and the observer over time.
Isabelle is continually motivated to challenge the boundaries of perception and approach by collaborating with new situations to compel viewership in unexpected directions. Her work has been exhibited internationally at The Czong Institute for Contemporary Art in Gimpo, South Korea, The Unstitute in Catalunya, Spain, Studio Fidlär in Berlin, The Bangkok Underground Film Festival in Thailand, NA Gallery in South Korea as well as nationally at Roman Susan in Chicago, IL, The San Diego Art Institute, The New School’s exhibition at The Bushwick Collective, Otion Front Studio in Brooklyn, The Linda Mary Montano Art Life Institute in Kingston, NY and HiLo in Catskill, NY. Isabelle collaborates with IV Castellano’s Feminist Art Group and has performed at The Judson Memorial Church in NYC as part of The Anarchist Art Festival, with Anarko Art Lab’s Ungovernable Zone at Ft. Tilden, NY, and at Panoply Performance Laboratory, Rosekill, and Grace Exhibition Space in Brooklyn, NY. Recently, Isabelle participated in Muscular Bonding, a collaborative art research project designed by Esther Neff involving six artists who traveled, lived and worked together in St. Louis, MO to collectively materialize M.A.R.S.H (Materializing & Activating Radical Social Habitus,) and then performed together at Living Art’s New Genres Festival in Tulsa, OK and most recently produced a solo exhibition of her work called We Can’t Tell What We’re Doing at HiLo in Catskill, NY. Upcoming, on October 20, 2018, Isabelle will perform at The Elizabeth Foundation for the Arts in New York City as part of As Far As The Heart Can See / In Honor of, curated by Nicolás Dumit Estevez Raful.
Isabelle’s studio project is located in Stone Ridge, NY in a 2,700 square foot industrial building that functions as a model space dedicated to open-disciplinary art approaches intended for reality revision. The space incorporates approaches such as QBP (quantum based practice,) 2D mark-making graphology, gesture analysis, collaborative energy generator explorations and other self-authorized research with traditional modalities such as video, sound, movement, painting & drawing and reflexive performance art as social inquiry based practices. With inspiration coming from spooky theory, quantum repair of Superfund sites, concepts of healing and recovery, self-authorship, collaboration and community building, the space fosters those who care about revising realities through art processes, perception, instinct and technology modalities. The studio was previously located in The Shirt Factory, an industrial building re-purposed as artist live/work spaces in Kingston, NY, where from 2013-2017 Isabelle worked as a Gallery Director for Star House Gallery curating, directing, and installing over seventeen exhibitions and art events of local, national, and internationally recognized artists and collaborators.
NYE FFARRABAS, (formerly Bici Forbes and Bici Hendricks) has been an artist for 70 years and a poet for 80. She participated in Happenings beginning in 1961, as part of the Fluxus scene. In 1962 she interviewed several artists including Roy Lichtenstein, Bob Watts and Ivan Karp. In 1965, she established her own publishing company, the Black Thumb Press. Nye/Bici had her first solo show at Judson Gallery in 1966 and the next year performed Ordeals with Carolee Schneemann. In the 60s and 70s, Nye/Bici participated in many of the Annual Avant Garde Festival of New York events coordinated by Charlotte Moorman. Starting in 1964, Nye/Bici compiled journals as conceptual art with Geoff Hendricks, a series known as The Friday Book of White Noise which contains many seeds for her event scores. In 2019 Nye completed a mobius-strip-shaped infinite event score as a performance, installation and wall-piece.
Inquiries: Adam Silver (802) 257-7898 x1, info [at] cxsilvergallery [dot] com