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We are now (I hope) in the aftermath of Covid, navigating a huge paradigm shift brought not only by a year and a half of social distancing and the horrific death toll Covid has wrought on the world, but also by the murder of George Floyd and the renewed urgency of the Black Lives Matter movement. RH: I have been thinking about two previous catastrophic events that ravaged New York Hurricane Sandy and 9/11. I tried to do more with less, and with what was at hand.Įlisa D’Arrigo, Do Look Back, 2021, glazed hand-built ceramic, 7 x 6.5 x 5.5 inches I’m now adept at the finer points of moving fragile clay work around in shopping bags.īecause my access to firings decreased, I doubled down on my process of applying surface and color with underglaze and colored slips on wet clay, in order to accomplish as much as possible with fewer firings. I now do this by subway (I was previously able to score a ride every month or so). This necessitates transporting work back and forth to the kiln in fragile greenware or raw glazed state. Since mid-March 2020, I’ve been making and glazing my ceramic works at home, a dusty, messy thing to do.
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#Vice versa nyc plus
Like many, I adjusted by dragging materials to work with at home – in this case, some boxes of clay and a few hundred jars of glaze, plus tools. RH: Were there particular obstacles to the physical making of your work? Did you learn new skills or approaches?ĮD: Similar to many artists, my particular studio circumstances became instantly more complicated during the lockdown, since I was not able to travel to the communal ceramic studio where I rent a small space, and where the kiln is located.
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Being resourceful and using what is at hand was in the air, as people were repurposing various materials into PPE, capturing wild yeast to make bread, sewing home-made masks, snail-mailing hand-made postcards, walking long distances for transportation. I am energized, as well as initially chagrined, by those adjustments to sensibility and expectation that glazing often gives rise to when the unplanned occurs. We were all in the dark, searching for points of light. I just happened to have some, so I took a chance and impulsively used it, embracing and continuing with the not-quite-expected coloration. Many, but not all, of the works are darker in palette than intended due to the use of copper oxide which I was not in the habit of using prior. I think of them as falling into two vague categories or “mini-series.” They are either somewhat head-like, and rather self–contained, conserving or summoning their inner resources, or they convey a figural twisting, wriggling, attempt to re-position, echoing personally and collectively experienced responses to this unsettling time. Reflecting upon the pieces I made during the pandemic, they seem denser, more concentrated. I can say that my way of working became ever more concentrated, as I made use of small chunks of time, frequently interrupted by lengthy intervals. How did you change? How did your work change?Įlisa D’Arrigo, Spotificationization, 2020, glazed hand-built ceramic, 7 x 5 x 6 inchesĮD: My experience with sheltering in place did not necessarily give me more time to work, or to focus in, because it required an intensification and further juggling /managing of outwardly driven caregiving responsibilities that already existed. I am interested in your experience of introspection while sheltering in place. We are now seeing each other, and art work, in real life for the first time in over a year. Being “sent to our rooms” for a year was a huge gift and privilege not available to many. It’s an uneasy and exciting time, for artists especially.
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RH: Congratulations on your beautiful exhibition, materializing, recent ceramics at Elizabeth Harris Gallery in New York. And of course, many thanks for taking the time to think about my work and see it in real life. Thank you so much for offering the pleasure of this conversation and time with you, for your deeply thoughtful questions, and for guiding me towards pondering and sharing my thoughts about a few things. The following is a conversation between artists Robin Hill and Elisa D’Arrigo, whose solo show at Elizabeth Harris in Chelsea is on view through July 31.Įlisa D’Arrigo: I’m doing well. Elisa D’Arrigo, materializing, recent ceramics, 2021, installation view at Elizabeth Harris Gallery