By CORI HUTCHINSON, March 2020
chain, I: Kerry McLaney
s. Image: Daniel Portnoy
Transmutation, installation view, m/m with Plexi carving, chain, glass, silver leaf, enamel,
24x24x108 inches. Image: Daniel Portnoy
thoughts and concepts that clarify this direction even more: “We are all waves from
the same sea...” and “Mono no aware” for example.
Baby Puff Cloud (in front of The Empire is Falling), polypropylene, Plexi globe, LED bulb, base.
11x11x10 inches. Image: The Artist
CH: How do you select your materials?
Materials are often personal artifacts from home or around the studio. Most works
have mini stories built into the material they’re made of. I select this or that
according what I believe I can manipulate successfully into the piece I’m working
on. In “Infinite Ocean (Ifitry)” I had a visual design in my head. I had worked hours
sewing on it, cutting, gluing, and painting. But it was looking awful, so I went back
and tore it all off. I found new materials and redid it again, several times, before I
achieved what I thought was possibly good. It’s trial and error.
Image: Daniel Portnoy
ASJ: As you mentioned earlier “A Stick, A Stone, A Tree” and “Every Other
Breath” - ‘stack unlike topographies’. I do tend to stack layers of influences. In
fact, I use this concept of layering to be able to express a complex maximalist
attitude, employing information from multiple imagery cues and the varied sources
that supply them.
CH: Is there a sound component to the exhibition? If so, can you describe it for
those of us who will not be able to visit in person?
Yes, there is. I have a video component running on an iPad and hung adjacent to
two other works. The installation is called “The Calling Wall”. In the video “The
Calling” sound is the principal element. In sequence, we see, and hear, the rhythmic
Sculpture: :VSP. Image: The Artist