STEP IN TIME
April 3-29, 2020
Karen Dolmanisth, Gunnar Norquist, Ken Steinkamp
Opening Event: Virtual April 11th
We are presenting three artists who are working with the concept of time, space and memory in very unique ways. By exhibiting Karen Dolmanisth, Gunnar Norquist and Kenneth Steinkamp, Coastal Contemporary Gallery will curate paintings, site-specific installation and renderings as three-dimensional objects, for ‘STEP IN TIME’. Their visuals are energized by spirit and threaded by the creative practice and meditation found within the art of mark-making.
Time is a fascinating and ever-evolving concept. We explore the possibilities of bending it, measuring it, overlapping or warping it. Can we speed it up or slow it down? It seemingly goes faster if we are busy and slower if we are bored; it can stand still if we are suffering and heal wounds as its passes. Wheels on a car appear to rotate backwards when they are spinning rapidly in forward motion. Can our consciousness exist without denoting time?
The inspiration for our April exhibition title is from the scene and song, ‘Step in Time’, from the enchanting ‘Mary Poppins’. There is dancing upon a shale rooftop at night. Chimney Sweeps, covered in ash, wearing dark costume, keep time with their feet and long scrappy brooms. Mary watches the performance with delight, but she breaks their rhythm with graceful pirouettes that slowly elevate her off the roof’s surface. The dancers resume their narrative song and dance. This glorious moment is abruptly interrupted by the Captain’s missiles that he fires off into the group and they scatter. There are close moments of falling from the building as players scramble upon ledges. They reassemble and slide down a chimney into an impeccably clean and bright living room of the wealthy Banks home. The Sweeps pull more players into their chaos and eventually the moment fully breaks apart and comes to an end. This scene resonates on multiple levels. It reveals our deep shadows, how we step together and pull apart. It conveys our moments of reaching the ‘edges’ and recalibrating to find balance again. Our rhythm is perpetually broken and/or noted by events, sometimes big and monumental – emblazoned in our memories collectively.
More often, it is the smaller pettier happenings that only consume a few seconds of our day, yet hold the ability to set us entirely backwards on our heels. This world and how we reside within the constraints of our limited, but expanding understanding of it, be it man-made or natural is measurable in its design, elements and even levels of tangible growth.
earned a BFA from combined studies at Parsons School of Design, The New School For Social Research and Cooper Union, Magna Cum Laude, in New York City and an MFA, with Honors, in Sculpture, Multi/Media Installation, and Video Art at the University of Massachusetts, Amherst.
Dolmanisth has created site-sensitive, trans-media, environmental installations, performative artworks and works on paper, at museums, galleries and art centers in India, the Netherlands, Austria, the Czech Republic, Slovakia, Canada, New York, Ohio and Throughout Southern New England. Selected museum invitations include, The Vienna Secession Museum, Austria, The William Benton Museum, Connecticut, The Mead Museum, The Wexner Center for Contemporary Art, Ohio, and The University Museum of Contemporary Art, Amherst, Massachusetts. Dolmanisth has traveled twice for invited work projects in India, producing site specific, multi-media sculpture exhibits in Varanasi, Chennai, Pondi- Cherry, and New Dehli, India. She has earned numerous grants and awards, including a NIFA/NEA New Forms Grant, a Bekshire Taconic Individual Artist Grant Award, a Connecticut College Dayton Artist in Residence fellowship, several Massachusetts Cultural Council Grant and a nomination for a prestigious Rappaport Prize.
Dolmanisth's work is included in the Harry N. Abrams' compendium, NEW ART, which documents the selected 100 international artists who most influenced the art of the nineties, and Vienna Secession's Wenn Die Kinder, with Andres Serrano and Nicole Eisenman. She was awarded her New York City solo show in 2002 at Smack Mellon, Brooklyn, was included in EXIT ART's RENEGADES, 25 years of performance art, NYC, and exhibited with Judy Pfaff, Roxy Paine, Ming Faye and Rachel Stevens in The Garden of Sculptural Delights at EXIT ART’s SoHo gallery in NYC.
In the seventies and eighties in NYC, Dolmanisth worked was the Artist Assistant and archivist for art critic and pioneering, performance artist, Lil Picard, and frequented Andy Warhol's Factory with Ms. Picard, in the late seventies. Dolmanisth worked with the HERESIES collective in the eighties on the publication, HERESIES, Feminist Art and Politics. Since 1978, Dolmanisth has been pushing the boundaries of contemporary experimental art in her daily practice in and beyond studio. She has produced site-specific earthworks, environmental sculpture projects, and transient, action-centered interactive, inter-media happenings. With unbroken dedication and devotion to practice, Dolmanisth has been exhibiting experimental created artworks, producing ephemeral, "flux-time" centered projects, for traditional museum and gallery venues and in such non-traditional spaces as railroad tracks, vacant lots, abandoned mills and factories, cemeteries, parks, rivers, lakes, ponds, the ocean, New York City piers, cornfields, woods, and mountain trails. Throughout, Dolmanisth has remained true to the integrity of her vocation.
The past several years, Dolmanisth has focused new work development in works on paper and several painting series, while living and working at The Frelinghuysen Morris House and Studio Museum in the Berkshires. She presented her work in exhibits at The Geoffrey Young Gallery, The Welles Gallery, St. Francis Gallery and during several Summer through Autumn Open Studio exhibits with the Guild of Berkshire Artists. Dolmanisth has exhibited her recent series of large-scale paintings at several Art on Main, Pittsfield Art Walk events. She continues to explore her multi-media practice in collaboration projects with poets, choreographers, musicians and sound artists. Currently Dolmanisth is the invited Winter/Spring Artist in Residence Fellow at Bird Hill Farm’s Artist In Residence Program in Central Massachusetts. Part of the work series that she has been developing during this residency, will be incorporated into the work she has included at Coastal Contemporary Gallery in April.
Exhibition Installation Imagery
Gunnar Norquist grew up in Minneapolis, Minnesota. Descending from a long line of Swedish carpenters he has always loved using his hands. Drawing and building things were among his favorite activities. Norquist received his B.S. in studio art from the University of Northwestern in St. Paul, Minnesota and then an M.F.A. from the Rhode Island School of Design in Providence, Rhode Island. He has exhibited widely including such places as Minneapolis, Providence, New York, and Paris. Norquist lives in Providence, Rhode Island with his wife and their three children.
Ken Steinkamp has been painting, producing images and exhibiting for nearly thirty years. Upon graduating from the University of Northern Iowa, he was enlisted in US Army and after photographic training, was assigned to the White House Photography Lab, Washington, DC. After his discharge, he completed a Masters Degree in Studio Art/ Printmaking from the University of Wisconsin, Madison. After a brief teaching career, he worked on a CETA grant at the Santa Barbara Museum of Art. He has traveled extensively in Europe and the US.
His work is found in collections throughout the United States and Europe. His studio is in an artist industrial space located Pawtucket RI.
In 2013 he became an Elected Artist to the Art league Rhode Island and currently serves as a Board of Director, First Vice President and Chairman of the VETS Gallery and Exhibitions Committee.
Statement from Ken Steinkamp
I am pleased to have the opportunity to showcase several of my recent in Coastal Contemporary Galleries April virtual gallery’s exhibition Step In Time.
When I began selecting pieces for the show from existing work, I found several that resonated including Timed Exposure VI and Between Then and Now.
I was in the process of updating and completing newer pieces a month ago, when myself, along with the rest of the world became aware of and ensnarled in, the Covid-19 pandemic.
At first, because of the uncertainty, I considered postponing or canceling my participation for an exhibition that would be limited to virtual experience due to “Stay in Place” guidelines. This news profoundly affected what I wanted to artistically share for this exhibition. In turn, my newest pieces such as Distance and Intervention embrace the emotional lines and layers of this turbulent time. I also realized as an artist, it is imperative to share my art that is relevant to the moment, no matter what manner it is viewed.
I encourage each onlooker to experience the timely relevance of the artful pieces in this exhibition that myself, Karen, Gunner and Shari have strived to share; art that is a STEP IN TIME.
Mixed Media 41"H x 31"W
Mixed Media 41"H_x 31"W
Mixed Media 42"H x 40"W
Mixed Media 45.5'H x 35.5"W
Mixed Media 36"H x 36"W
Mixed Media 60"H x 46"W
Graphite on Paper 48"H x 65"W Framed
Ancient Geological Rock and Oil Pigment on Linen 18.75"H x 18.75"W Framed
Vecis Piscis White Light, Royal Blue and Royal Black Space Ancient Geological Rock and Oil Pigment on Linen 12.75"H x 12.75"W Framed
Sacred Ground with Blue Atmosphere Ancient Geological Rock and Oil Pigment on Linen 15"H x 15"W Framed
Sacred Earth and Blue Atmosphere, Cream White Ray Ancient Geological Rock and Oil Pigment on Linen 18.75"H x 18.75"W Framed
Ancient Geological Rock and Oil Pigment on Linen 12.75"H x 12.75"W Framed
Ancient Geological Rock and Oil Pigment on Linen 18.75"H x 18.75"W Framed
Ancient Geological Rock and Oil Pigment on Linen 11.75"H x 11.75"W Framed
Ancient Geological Rock and Oil Pigment on Linen 14.75" x 14.75"
Parallel Passage, Vertical Intersecting/Overlapping Ancient Geological Rock and Oil Pigment on Linen 15" x 15"
Generative Movement In Still of Space Ancient Geological Rock and Oil Pigment on Linen 12.75" x 12.75"
Ancient Geological Rock and Oil Pigment on Linen 15" x 15"
Ancient Geological Rock and Oil Pigment on Linen 15" x 15"
Cream Moon in Dark Aqua Marine Heaven Ancient Geological Rock and Oil Pigment on Linen 17.75" x 17.75"
Ancient Geological Rock and Oil Pigment on Linen 12.75" x 12.75"
Graphite on paper on panel 4" x 7" 0.25"
Graphite on paper on panel 4.5" x 6" x 1.75"
Graphite on paper on panel 5.25" x 4" x 3.75"
Graphite on paper on panel 4" x 4" x 2.75"
Graphite on paper on panel 7.875" x 5.25" x 2.25"
Graphite on paper on panel 3.75" x 6.75" x 2"
Graphite on paper on panel 6.5" x 4" x 3.75"
Graphite on paper on panel 3.25" x 5.5: x 0.25"
Graphite on paper on panel 5.25" x 3.5" x 2"
Graphite on paper on panel 2" x 5.75" x 1.5"
Graphite 3.875" x 5.5" x 2.75"
Graphite on paper on panel 4" x 3" x 2"
(From the Little Rock Nine) Graphite on paper on panel 2.625" x 7.875" x 1.5"
Graphite on paper on panel 3.25" x 4.875" x 1.125"
Graphite on paper on panel 3.25" x 5.875" x 2.875"
Graphite on paper on panel 3.25" x 4.5" x 1.75"
Graphite on paper on panel 4" x 6" x 0.25"
Graphite on paper on panel 6.125" x 4.62" x 0.25"
WITH THREAD, GLASS, COASTAL SHELL, SAND
AND ANCIENT VOLCANIC GROUND ROCK
Artists statement For Step In Time,
at Coastal Contemporary Gallery, Newport, RI
By Karen Dolmanisth
‘SEA LIGHT AND SHADOW’
For about thirty years I have been developing sculpture installation commissions utilizing thread to activate inner space and create abstract geometric drawings in space. The sculpture installations are made with an emphasis on conscious relationship between parts and whole. They are guided with intention, to work toward actualizing aspects of integration, and for a marriage of opposites, to form awareness of unity within the Self, through my artistic practice, and to offer that same experience consciously or subconsciously, for the viewer.
The installations have been commissioned by museum curators and gallery directors, to invite my practice of sculpture, to work on-site, and to activate very large cultural spaces with a genre I would call para-conceptual. They each have a way of working in the sculptural tradition that present certain consistencies in my 3 and 4 dimensional artistic practice. As a sculptor, I work with material, form and space, but through the sculpture installations, I bring a sculptural interest to the inner space of the architectural forms, where both sculpture ( 3D ) and paintings and drawings ( 2D ), are curated and displayed. With my sculptural practice, I work with a selection of materials to “draw, or choreograph,” within the architectural three dimensional space of walls, floor, columns, ceiling, doors, and windows and to be in-relationship-with, and to activate conscious awareness of, the non-physical, inner space, energy and flow, within the interiors of an architectural building.
Traditionally, I am invited and commissioned to create a work, within a designated space of the gallery or museum, that invites my practice of working, not just with material, elements, form and space, but also Time, Evolving Change, Process and Transformation, as elements and material.
If a commission is on site for one month, or longer, I work for a number of days and nights, prior to the opening date, on-site, with the elements and materials that have been brought in for me to create with. Prior to the private or public opening date, I work in concentration and intention, to get the sculpture project ‘s spatial composition intuitively designed, and set in, to what will be it’s formal arrangement and structural order. Remaining materials and elements that now become apparent, will not continue to be part of the evolving sculpture at this site, are cleared away and re-stored in studio, to be possible materials that may be included in a future work.
When the scheduled opening of the exhibit arrives, viewers are invited in and documentation continues, to record for future printed and time-based media artworks, that become part of, and layer of, the project piece, and for historical archival purposes.
The work then shifts into a new stage, where the process of continuing to work with the sculptural inner form and with the chosen materials and elements, for the evolving piece, continues. It now continues forward, in a way that the current viewer and future viewers, through documentation material, can observe the evolution of the three-dimensional work, over time (Time and Evolving Transformation, being aspects of the fourth dimension).
Ideally, projects for commissioned sculpture site-work, is made near a window that receives good natural light from the sun, at best, sunrise to sunset, or at least, one phase of the rising setting sun, cycle.
The sculpture projects are made consciously, intentionally, and then through the creative process, intuitively, to collaborate with the dance of the moving sunlight and shadows, upon, and within, the forms and space of the alive, in process, sculpture, and its partner, the architectural space, and its multi-form, built elements and design.
Now, I shall begin to clarify, some of the elements that my practice works to make a Unity of, with an evolving and alive, marriage of opposites.
Even in this small sculptural installation, made on-site, by invitation, from the gallery owner and Director, Shari Weschler, I can shed light on the meta-forms, and visual language poetry, I traditionally seek to integrate in my 3D Practice, through - Form and Space, and 4D Practice, through - Time, Change, Evolution and Transformation.
First, I intuit and feel to locate, a Center, of the space visually articulated through dialogue with the Curator, or given, in advance, in a 2D blueprint, or understood through one or more visits to the site. Then I create a conscious and energetic connection, relationship, between and with, an inner embodied Center, of Self. This is the first, Conscious Relationship of two, becoming as Unity, One. Awareness of the center of I, within, to the center of the apparent Other, in this case, the architecture and its interior space, that I bring my awareness of relationship and a unity, and oneness with. I ground my awareness, through breath, and embodied connection, to the air, or “breath” of the space, that is in flow and circulation, moving through and within, the solid structure and physical container, vessel, architecture, of the building and gallery room, where I am making a new piece. This establishes a beginning intention, for relationship, connectivity, and unity of Self to Place.
Second, I bring attention and awareness to four directions, given the names, East, South, West and North. I feel the grounded knowledge of my feet in their connection with the Earth, through my awareness of the architectural plane, the floor. I orient my center with the ground, The earth, the floor and my axis as a standing human, with the four directions.
Third, I consciously bring awareness to the upper planes, both within and in the wider sphere, extending around me, of the architecture and its ceiling plane, then the building roof, the sky and extending to the limitless, galaxies beyond our atmosphere.
In this way, I am consciously aware of my artistic practice and its formal project in, a working-with and orienting to, the dance of the creative work, or play of, the designing of and drawing of, and with, the elements of and transformative energy, form and space.
Transformation with, of, and through, the relationship between, and the spatial integration of, seemingly and at time, quite separate, and opposite, elements and form, and how these forms and spaces, speak poetically, symbolically or metaphorically, to aspects of Being, of Life and of Becoming…is what guides the way of working, in my practice through 3 and 4 dimensional, art making.
More simply, working with the material, and sculpture elements of both concrete form and space, the presence of natural light and shadow, a Center, of both the worker/artist, and their combined, rhythmic relationship to the Center, and Center Counter Points, of a Place, with fluid activity, movement and breathing, edge and circumference, soft and or strictly defined boundaries, the ground (earth ), the ceiling ( sky, heavens, above ), the walls, ( four primary directions ), angles, curves, arcs and waves of line, form and movement,…all conjoin in pattern, arrangement, theme and variation, ...
to create a way of making time based, site sensitive and site specific, sculpture, that forms my practice. This is an artistic practice that is rooted in the intention of, an integration of arts to wholeness, the healing and wonder of creative and integrative transformation through Art, and an awake awareness of the Unity of “I, Thou” (theologian, philosopher, Martin Buber). It is a yoga, contemplation practice and experiencing of, Unity, of Us and All.
This relationship fact of connectivity, of the unique mystery and wonder of each Individual, with a known Transcendent All, Creative Source, no-thing is separate, Unity, is the realized intention and guiding Call, of this artistic practice. To make this known, experienced and visually revealed, through the forms of a relational based, multi-dimensional, multi-plane and directional, integrative artmaking form, is the pathworking way, and foundation of my discipline, study and practice over four decades. This way of working and of making, as a multi-dimensional, integrative, on site sculptor, not only gives a medium and vehicle through which I can communicate about our relationships to, with and between the members of our human family, including the ancestors and future generations, but also gives form and process through which to engage with our relationship between Human Beings and Time- Past, Present, Future and folds and curves thereof, between Human Beings and Nature - Her Boundless All, which manifests through multitudes of diversity and plenitude in the plant, animal, mineral, elemental realms, and the Human Beings and our relationship with the Earth, Sun, Moon, Planets, Stars, Atmosphere, Gasses, Electricity, Gravity, Flight, …. etc, and individual and each unique suchness, each to each other, therein.
In awareness of the concept of duality and opposites, to site a few of the limitless many, that humans have conceptualized and named, Male- Female, Masculine-Feminine, Body-Spirit, Heaven-Earth, Light-Dark, Nature-Culture, Cyclical-Eternal, Stillness-Motion, Sound-Silence, Form-Formless, Visible-Invisible, Young-Old, High-Low, Microcosm-Macrocosm, Inner-Outer, Structure- Flow, Stable-Fluid, Hot-Cold, Heavy-Light, Dense-Porous, Open-Closed, Exclusive-Inclusive, Integrative-Discerning, Separate-Connective, Vertical-Horizontal, Fast-Slow, Mind-Body,
…I am able, through the creative practice in making art- with materials, vision, imagination, intellect, creative chaos, order, harmony, composition and design, enter a dance, a discipline, a fluid play, and practice that brings attention and awareness, to an honoring of the unique Suchness of a thing, being, or element in creation. Through artistic practice in sculpture installation, there can be a visual work of poetry or prayer, that seeks to mend and transform, where form has broken apart, or broken open, become dispersed, threads of life tangled, or over-burdened, … a smoothing out, a re-connecting, a sorting, massaging, spacing, planting, cultivating, tuning, re-aligning, then re-integrating, weaving, knitting, building, quilting, collaging, assembling, designing, pouring, drawing, painting, repairing, healing, renewing, supporting,…composing of, rebalancing of,
the parts to wholeness.
The sacred circle of wholeness in the Chinese Yin Yang symbol, presents this well, as does the sacred form, symbol and tool of Centering, inclusion, integration, and transformation to wholeness, of the Mandala, made by human beings throughout time, culture, place.