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For a piece like Rise or Endless Sea I start with rough cut ash, mill the wood using a small jointer and planer, and then cut the slats for the multiple frames using many passes on a table saw to rip the wood. SH: I use soft maple or ash wood for the bulk of the structures I make.
#D16 sigmund freeze series#
In assessing Hazard’s work as “the place where garden and wilderness meet” - or “the place where creative work is born and where work exists” - I am picking up on the artist’s intention as reflected in material aspects of the work and in how the artist/work is manipulating my faculties of perception. To understand better Hazard’s artwork and its effect, I followed up my visit with a series of questions.īoB: Can you walk me through the process of preparing the structures? What kind of tools? How long does it take? Ruhe Performance (Autocenter Berlin, 2012)Įnclosed Content Chatting Away in Colour Invisibility (Kruithof, 2010) Lecture (California College of the Arts, 2014)Ĭharlotte Köhler Prijs (Prins Bernhard Cultuurfonds, 2014) Large-Scale Installations (Bookmarking Book Art, 2017)Īrtober (Stedelijk Museum Amsterdam, 2015) Here are some of the videos and sites featuring Kruithof, her activities and art:
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A fortunate effect of social media and the Web is that current news seems to pull retrospective links in its wake.įor Max Van Steen’s perceptive review of AUTOMAGIC (pictured above), click here. In 2017 and at the turn of 2018, a flurry of commentary arrived to mark her show ¡Aguas! at Foam Fotografiemuseum in Amsterdam. She has packed so much art, enterprise and life into her life that it is hard to find sufficient time and resource to keep up with her activity. In the hands and mind of Anouk Kruithof, book art is made to sound intimate notes ( Automagic, 2016) and grand notes ( Enclosed Content Chatting Away in the Colour Invisibility, 2009 ongoing).