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SUSIE J LEE-REFRAIN
OCTOBER 11 - DECEMBER 1, 2007
For her first one-person show, recent University of Washington MFA graduate, Susie J. Lee will activate all five exhibition spaces of Lawrimore Project with two ambitious installations, three new sculptural video works, a new narrative video, and three select works from the artist's short but storied 1-year career.
SEATTLE WEEKLY REVIEW
by Carrie Scott
STRANGER REVIEW
by Jen Graves
SEE VIDEOS OF THE WORK HERE
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REFRAIN-The tendency of a system to oscillate back and forth is described as its resonant frequency. Our capacity to revisit the past and return to the present has its own resonant frequency; verbally, we try to describe this movement in which "thoughts flood back" or "feelings come back in waves." Leaving no physical trace of their existence, memories can fill the entire space of one's mind before receding to where they came from. In this sense nothing has a way of filling everything.
This exhibition explores the sinusoidal path of remembering: from sudden triggers to fragments of recollections to its attenuation and return to the present, and how these memories occupy a psychoemotional space. Ephemeral and transparent materials, such as water, clear resin, light, and sound carve out volume with minimal suggestion of mass. Utilizing melodies with refrains, repeating patterns, and multiple layers of sound and light, the pieces are composed with arcs that crescendo/decrescendo.
At a formal sculptural level, Lee addresses the idea that using video projections is ultimately about using light. As time-based compositions, the pieces fall somewhere between performance and static works, but the continuous loop function more as a consequence of the medium than as part of the content. In exploring a resonant frequency of memory and the volume of absence, both the ephemeral qualities of light and the loop are integrated into the conceptual parameters of these works.
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...AND IN THE MAIN SPACE
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RAIN SHOWER (SONAGI), 2007
LED/sound installation
Dimensions variable
Edition of 3
P.O.R.
Premise: How do you fill a space with rain without filling a space with rain?
This piece locates itself within a transitional space of the gallery—one comes from the outside to the inside and from one end of the gallery to the other. As one travels through the space, the sound of "thunder" comes from no particular direction and an array of individual lights slowly hits the floor. As the sound decays to whispers and raindrops, the droplets of light increase in speed, effectively filling the space with only light and sound. Like a storm, there is an approach, a crescendo, and a slow fading away.
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...AND IN THE WHITE CUBE
FREQUENCY MAP, 2007
8-channel sound installation
Edition of 3
$8,000
The Premise: An empty room attempts to communicate.
At first glance the White Cube appears to be between installations. The room is *empty* but the lights are on. The presence of someone walking into the space activates this piece. An audio program of knocks, pipes, and whistles emanates from behind three walls that were specially constructed to perfectly 'mimic' the White Cube. As the sounds move from one side of the room to another, a system of non-verbal language emerges, conveying the sense of presence and response. Marking the intervals between each "conversation" is the sound of wind chimes indicating the existence of something we assume to physically be there but can only hear and feel.
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CAESURA, 2006
Polyethylene, Plexiglas, sand, single-channel video
Edition of 5
$3,500
[Ed 1/5 SOLD]
In CAESURA, 2006 Lee utilizes sand as the foundation for her projection. Light spills across the plane, eroding darkness to define a growing and glowing topography, leaving its impression in the sand once the glow has faded. The projection was produced by letting ink slowly seep on a piece of paper.
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NOLI ME TANGERE, 2006
Polyethylene, single-channel video
Edition of 5
$3,800
[Eds 1/5, 2/5 SOLD]
The piece is a single channel video that is back-projected through a domed form. The image is of a finger pushing through fabric. Noli Me Tangere translates to “Touch Me Not” in Latin, and it is what the resurrected embodiment of Christ tells Mary Magdalene. According to one Gnostic interpretation, Mary Magdalene was Jesus’ lover. Recognizing him, she reaches out to him, but maintains distance with his reply.
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CONJUGAL, 2006
Cotton batting, wood, single-channel video, single-channel audio
Edition of 5
$3,500
[Ed 1/5 SOLD]
This piece is a single channel video projection on DVD that is projected on layers of polyester quilt batting. The image is of two hands moving and rolling underneath miniature white particles on cloth.
The audio is from the prose poem, “Conjugal,” by Russell Edson
A man is bending his wife. He is bending her
around something that she has bent herself
around. She is around it, bent as he has bent
her.
He is convincing her. It is all so private.
He is bending her around the bedpost. No, he
is bending her around the tripod of his camera.
It is as if he teaches her to swim. As if he teaches
acrobatics. As if he could form her into something
wet that he delivers out of one life into another.
And it is such a private thing the thing they do.
He is forming her into the wallpaper. He is
smoothing her down into the flowers there. He is finding
her nipples there. And he is kissing her pubis there.
He climbs into the wallpaper among the flowers. And
his buttocks move in and out of the wall.
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RINGS OF SAINT GENEVIEVE, 2007
Single-channel video sculpture, water, acrylic
Edition of 5
$3,500
Resonance and time are explored in this piece in which layers of water are poured into a cylindrical form and an image is projected on the surface. Each layer of water creates a discrete line of air bubbles, as if marking time. As another layer is poured, another ring of bubbles is created. Then, over time, the lines of bubbles decay into randomness and then eventually disappear. This is echoed in the projection image of the rings created by water droplets in which the rings expand and contract and then fade away over time.
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FUGUE STATE, 2007
Hand-cast resin, 1-channel video
Edition of 5
$4,500 [Editions 1, 2, and 3 of 5 SOLD; Edition 4/5 ON HOLD]
Premise: A romance represented by hands.
A pillow-shaped resin form with a projection of hands in shadow acting out relational, emotional moments between two people. As the light goes through the resin, it casts the image on the front and back of the pillow forms, and as one walks around the piece, the images appear and disappear.
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WACHET AUF RUFT UNS DIE STIMME, 2007
Single-channel video sculpture, water, acrylic.
Edition of 5
$7,000 [Ed 1/5 ON HOLD
]
Light, image, and water are key elements in this piece, in which the image of oil droplets travel upwards through the water. Water reveals light, like dust in air and the image is captured above. At the end of the projection, the oil droplets swirl away and disappear. The melody, played by the artist, is Bach’s “Wachet…” which translates to “wake up, the voice calls to us,” gently reminding us to prepare for endings which we know will come.
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WACHET... detail
View of projection on the bottom of the cube of water.
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WACHET... detail 2
Detail of projection becoming *sculptural* as it moves through the water.
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WACHET... detail 3
Finally, the projection is captured on an acrylic screen floating above the tank.
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ANNE MATHERN: MOSES LAKE August 16th Through September 29th 2007
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MOSES LAKE
For her first solo show at LAWRIMORE project, Seattle artist Anne Mathern turns her attention to Moses Lake whose name belies its Native American origin. Exploring this disconnect, Matthern's new work in video, photography and live performance interrogates the imposition of one's cultural and historical symbolism and persona onto another. Colonial explorers, vision questers, desert mystics and totemic beasts are the resulting subjects when the artist (mis)appropriates herself, her work and a band of disillusioned youth in a ritual-cum-rock show of an exhibition
Seattle PI Review by Regina Hackett
The Stranger Review by Jen Graves
SEE THE SHOW HERE
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MOSES LAKE: Installation View
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MOSES LAKE: Installation View
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...IN THE WHITE CUBE
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FREQUENCY MAP, 2007
8-channel sound installation
Edition of 3
$8,000
The Premise: An empty room attempts to communicate.
At first glance the White Cube appears to be between installations. The room is *empty* but the lights are on. The presence of someone walking into the space activates this piece. An audio program of knocks, pipes, and whistles emanates from behind three walls that were specially constructed to perfectly 'mimic' the White Cube. As the sounds move from one side of the room to another, a system of non-verbal language emerges, conveying the sense of presence and response. Marking the intervals between each "conversation" is the sound of wind chimes indicating the existence of something we assume to physically be there but can only hear and feel.
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PERFECT LANDSCAPE : PAINTING BROKEN DOWN
August 16th through September 29th
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Featuring work from:
Leo Saul Berk (courtesy of Howard House Gallery)
Bradley Biancardi (courtesy of Crawl Space)
Cris Bruch
Buddy Bunting (courtesy of Soil)
Timothy Cross
Blake Haygood
Susie J Lee
Alex Schweder
PREVIEW THE SHOW HERE
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PERFECT LANDSCAPE : Installation View
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CRIS BRUCH
How Did I Get Here?
A 20 Year Survey
June 21st-August 11th
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LP *Hearts* Painting - Michael D. Linares - Main Space, January 2007
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ISAAC LAYMAN - Photographs by the Artist as a Young Man
White Cube, January 2007
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JOSH AZZARELLA - Videos - Black Box, January 2007
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Back Room - January 2007
Isaac Layman, Lead Pencil Studio, Susie J. Lee
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AQUA ART MIAMI - December 2006
Video Bar, Liz Cohen, Tivon Rice, Sabrina Raaf, Susan Robb
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AQUA ART MIAMI - December 2006
Susie J. Lee, Cris Bruch, Anne Mathern, Video Bar
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SAMI BEN LARBI
Are We There Yet?
Four-channel Video Installation, Main Space, November 2006
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ERWIN WURM - Videos - Black Box, November 2006
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KERRY SKARBAKKA
Fluid - New Photographs
Main Space, September 2006
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SUSIE J LEE - Fermata - Black Box, September 2006
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Back Room - September 2006
Kerry Skarbakka, Liz Cohen
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THIS IS GALLERY - Main Space, August 2006 Group Show Featuring
Cris Bruch, Sami Ben Larbi, Kerry Skarbakka, SuttonBeresCuller
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THIS IS GALLERY - August 2006
Chris Jordan, Sabrina Raaf, Cris Bruch
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THIS IS GALLERY - August 2006
Back Room: Anne Mathern, Cris Bruch
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LAWRIMORE PROJECT opened June 22, 2006 with SUTTONBERESCULLER
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SuttonBeresCuller - If These Walls... - June 2006
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SuttonBeresCuller - July 2006
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All SBC photographs copyright - Adam L. Weintraub
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GALLERY HISTORY
What!? You haven’t heard of LAWRIMORE project!? You didn’t see the smoke signals from Seattle!?
Ok, we’re a straight-up, commercial gallery teepeed in that overlooked outpost of the Pacific Northwest. Utilizing Chelsea logic, the gallery trailblazed to the International District in 2006 where the spaces were Super-Sized though Value-Menu priced. What was formerly a neglected, mid-century-modern, 6,500 square-foot sign shop was transformed by Rome-Prized, STRANGER-Geniused, Creative-Capitalized, Architectural-League-of-NY-Emerging-Voiced, Lead Pencil Studio [Annie Han + Daniel Mihalyo] into what one critic has called “already the most distinctive and original gallery in the city’s history.”
Speaking of history, we've only been open since June of 2006. Something like 30 reviews and profiles in the local dailies (Seattle Times, Seattle PI) and weeklies (The Stranger, Seattle Weekly), profiles in monthlies like Seattle Magazine and Seattle Metropolitan, shout-outs and reviews in national magazines like Art in America, ArtLtd., ArtWeek, a full profile of the gallery in an upcoming CONTEMPORARY magazine, and nice mentions in online journals like ArtKrush, ArtInfo, and Tyler Green’s Modern Art Notes.
For nearly a year prior to opening the ‘buzz’ swelled, one arts writer stating, “Lawrimore project was nearly reaching the status of urban legend...[its] seven inimitable rooms that almost no one has seen yet but which for months have been the subject of gossip.” The space itself has been called: “grand and hot, with stylish separate rooms for large-scale sculpture, white-box contemplation, video presentation, and cozy socialization,” and, “radically chic,” and “the gallery feels as spacious and diverse as a small museum—L.P. is by far the sexiest place to experience art locally.”
The gallery’s quick rise to prominence both in Seattle and on the national scene is entirely due to the ambitions and pluck of our artists. We could go into the gazillion accolades our artists have garnered recently but, again, one critic sums it up best when she stated, “[LAWRIMORE project’s] artists are the strongest lineup since DONALD YOUNG GALLERY opened here in the 1990s.”
We were awarded “Best Opening of a New Gallery” by SEATTLE MAGAZINE in 2006, and THE STRANGER shorlisted us for their 2006 “Genius Award” for arts organizations—the first ‘commercial’ space to be so recognized.
LAWRIMORE project is a sole-proprietorship, owned and operated by Scott Lawrimore, an art historian who is in a 12-step program to shake his addiction to Duchamp.
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GALLERY PROGRAM
LAWRIMOREproject supports ambitious projects by contemporary artists working in video, digital and new media, installations, works on paper, photography and sculpture. The exhibition program balances the aims of all commercial galleries with the attitudes of a Kunsthalle or a project space—the trade of art vs. the trade of ideas— by championing radical interventions in its large Main Space, and encouraging collecting with its series of traditional galleries in back.
The gallery hopes to contribute to the discourse of contemporary art by promoting a critical dialogue between emerging and mid-career artists from the northwest and nationally and internationally recognized artists.
LAWRIMOREproject represents or has had exhibitions with the following artists:
ANNE MATHERN (Seattle)
CHRIS JORDAN (Seattle)
CRIS BRUCH (Seattle)
TIVON RICE (Seattle)
LEAD PENCIL STUDIO (Seattle)
SUTTONBERESCULLER (Seattle)
SAMI BEN LARBI (Seattle)
SUSAN ROBB (Seattle)
SUSIE J. LEE (Seattle)
ISAAC LAYMAN (Seattle)
ERWIN WURM (Vienna)
CHARLES LABELLE (New York)
SABRINA RAAF (Chicago)
LIZ COHEN (Arizona)
KERRY SKARBAKKA (New York)
MICHAEL D. LINARES (Puerto Rico)
JOSH AZZARELLA (Columbus, OH)
CLAUDIA X. VALDES (New Mexico)
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