New Voices: Andrew Kozlowski

Ed. Note: Longtime contributor Sage Dawson started our New Voices series a few months ago in hopes of sharing work by emerging artists with our readership. While Sage was able to get the feature up and running, circumstances beyond her control have forced her to take a leave from writing for the near future. In order to keep the e-fires burning while she’s away (we’re insisting that she comes back!), we’re going to cull the New Voices inbox and share some of the work she hasn’t been to get to. If you’d like to submit your own work or recommend someone’s work for inclusion, send us an email at newvoices@printeresting.org.

Andrew Kozlowski has been making installations using wheat pasted screenprints. He sent us pictures from After Party, an April solo exhibition at 1708 Gallery in Richmond, VA. Two large pieces were created for the exhibition. Vanishing Landscape is “an endless field described not by lush green, but a scattering of cast off objects with framed drawings and prints inserted to act as ciphers and pauses” and Monument (Rebuilder) is “a massive construction which begins at the base as a confusing mess, and slowly reveals itself to be a deliberate if uneasy structure.” Kozlowski utilizes a volunteer staff to help realize the work. He gives them a brief tutorial on wheat-pasting the forms and then permits them some autonomy for installation. Low-brow detritus like beer cans, coffee cans, and cinder blocks abound bringing up broad ecological themes of the disposable nature of culture. As he goes on to say in his statement…

Initially my thinking was to install the works and then remove them in a way that would allow me to reuse elements. However, despite my best efforts many of the prints are destroyed during the deinstall*, but this has lead to a new development for the work. At the completion of this exhibition the wall pieces in After Party were pulped and I had the opportunity to run a recycled papermaking workshop. To me, this allows each installation to remain unique and ephemeral while creating an object that simultaneously contains a history becomes something new. It also creates another avenue for visitors to interact with the work. In a way, I am hoping to make the process of recycling these installations as much a part of the work as the narratives I am exploring. 

*Note for anyone interested in this method: the glue is water soluble, but the screen-printing ink makes it hard for water to saturate the paper after installation, often causing the pieces to come away easily where ever they are mostly paper, but tear where they are really inky.  Processes like relief or intaglio (because the ink tends to sit in the paper without clogging all the fibers) on thinner sheets of more porous papers (many Japanese papers fit this description) would lend themselves to being deinstalled easily with a bit of patience.  This handout from Sean Caulfield is particularly good at describing the installation and deinstallation of such projects.

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Mountain

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