caseywrightsculpture

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“Light Manipulation Orbs”

Casey Wright

65”x 66”

Pencil rod, chicken wire, glue, light bulb cords, extension cords, wire, mirror, paper maché, light bulbs, leaves, acrylic paint, and spray paint.

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Stop Motion

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“Fear”

sad about the GPU sign thing ): I thought it would go away once I exported it )):

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My idea for my final project is to create hanging lanterns. I was inspired by the lighting and props used in theatre performances. I want to work with making complex lanterns using various materials to explore different ways that light can be manipulated. I will likely create multiple spherical lanterns potentially ones made out of sticks, one made out of leaves, and various other objects as well. I am considering creating a lantern that reflects the silhouette of images of a narrative or environment.

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Casey Wright

“Negative Space Chair”

Pencil rod, plywood, acrylic paint, wood stain

17” x 17” x 34”

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Untitled: An interview with Casey Wright by Cidney Oleniacz

VCU Sculpture and Extended Media, Oct 2, 2018

This piece is about male femininity. It was inspired by gender reveal parties, a growing trend among American young couples. This piece was made to highlight that with in these parties only biological sex is revealed not gender identity.

It is a frame with two wire circles and tied painted green twine to connect the two. After the frame was constructed, many hand dyed and prepared flowers were applied. Alongside the flowers are layed leaves and butterflies which were made with thin paper, Elmer’s glue and paint.

Casey was inspired by Anna Betbeze’s process of fabric dying and application of craft.

Finally, I asked her if she had an issue with the practice of gender reveal parties. She rebuttaled with: “not really, people can do what they want. This piece just shows that these parties reveal biological sex, not the individual’s true gender identity. It’s a false narrative.”

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An Interview with CIDNEY OLENIACZ by Casey Wright

“Individuated” (2018)

Statement:

Oleniacz’s piece is about male and female equalities, coming together and becoming a whole; balance between genders.

What did you do?

Oleniacz cut XL black thrift pants and knitted pieces of black yarn together. She sewed on the knitted portions to the pants using purple string to make a banner of some sort. Next, she welded pencil rod together to make a rectangular frame for the piece. 

Influences?

Oleniacz was most inspired by the artist, Juetta Koether, who hung her canvas paintings inside glass walls. Oleniacz thought it was interesting how different the two sides looked. 

Why are you so interested in the “back” of a piece?

Oleniacz said she believes that you have to change your perspective to better understand something and says that there is no one way to view her work. 

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My piece is about male femininity, and the opposition to it in our society. It was inspired by gender reveal parties, hence the blue flowers, but includes feminine and natural objects like flowers and (male) monarch) butterflies. It is highlighting that gender reveal parties actually only reveal the biological sex of the child, not the gender which is to be determined by the child itself. The welded iron stand was inspired by hangman as well as bird feeder stands. It serves as a frame for the piece allowing the “chandelier” to rest at an ideal viewing point. 

Description: The piece has green twine vines coming down that contain paper monarch butterflies, green paper leaves, and varying shades of blue fabric flowers. Much of the structure of the piece was created with metal wire. It is hanging with microfilament from a welded bird-feeder/hangman-like pencil rod hanger. 

“Untitled” (2018)

Casey Wright

Pencil rod, twine, acrylic paint, muslin paper, glue, wire, fabric, and fabric dye. 

7′ x 2′

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Casey Wright

“Untitled”

20″ x 5″ x 5″

Fabric, fabric dye, tissue paper, wire, acrylic paint, twine

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Casey Wright

“Untitled”

12” x 12” x 12”

Plywood, acrylic paint, sheet moss, rocks, twigs, salt, saran wrap

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Casey Wright

“Untitled”

Plywood, spray paint, wire, glitter, rocks, clear gloss spray

7” x 7” x 7”

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-Joanna Mozdzen: Clay sculpted fruit with happy baby faces.

- Lei Xue: Paints porecelian cans by hand in the style

of Mind Dynasty vessels and wares.

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#1.) Gregory Euclide

1.) “Otherworldly: Optical delusions and small realities” (2011) Installation

2.) “One Green Thing” (2012)

3.) “After/Omit the taking in my posture seeing becomes the way of owning” (2013) Installation 

4.) “Palo Alto Art Center Installation” (Date?)

5.) “Real, natural, and unsustainable” (2010) Installation

6.) “Giving it back” (2010) Installation

7.) “Torn from the making of knowing’s vista” (2010)

8.) “I know your fences are pools passing through meaning” (2012)

9.) “Capture 4″ (2009)

10.) “There’s no place without foam” (2009)

Born in the state of Wisconsin in 1974, “Gregory Euclide is an artist and teacher living in the Minnesota River Valley. His work has been featured in The Nature of Nature at the Minneapolis Institute of Arts (2014-2015), Badlands: New Horizons in Landscape at MASS MoCA (2008-2009), Otherworldly at the Museum of Arts and Design in New York (2011), Small Worlds at the Toledo Museum of Art in Ohio (2011), and was presented as a solo exhibitionNature Out There, at the Nevada Museum of Art (2012). Euclide’s work has been reviewed and featured in publications such as: Art News, Sculpture Magazine, Art Ltd Magazine, Hi Fructose Magazine and Juxtapoz Magazine. His work is also featured on the 2012 Grammy Award winning album covers of the musical group Bon Iver and on the cover of McSweeney’s Quarterly Concern #43. Euclide was awarded three Minnesota State Arts Board Artist Initiative Grants through the National Endowment for the Arts, and a Jerome Foundation Residency through the Blacklock Nature Sanctuary. In addition, he was a recipient of the 2011-12 Jerome Foundation Fellowship for Emerging Artists and the 2015-2016 Mcknight Fellowship for Visual Artists. Euclide received his MFA from the Minneapolis College of Art and Design.” (Source)

Euclide’s Statement: “The depiction of land has often been used as a means of celebrating or critiquing culture. The use of pastoral views, banal architecture and everyday trash problematize the traditional definitions of a natural landscape. Through the process of transforming and miniaturizing materials found in the land, objects, in their new context, are no longer discernible as natural or man-made. The juxtaposition of representational modes and materials create a hybrid space where the romanticized and actual intermingle. Contrasts between the flat, painted vistas and artifacts from the land expose the illusion of representation and subsequently confuse the pictorial space, calling into question the authenticity of the objects. The forms fracture the pictorial space, at times, inhabiting the frames, robbing them of their ability to define a single view and inviting a phenomenological exploration by the viewer.” (Source)