The Magic Box was an enormous and all-consuming project that took up huge portions of our lives over the past three years. Its ben very difficult to nail down the next installation project for Foxy-Wolff. We have been kicking around several ideas since before completing the last, and while there were elements of each idea that we found compelling, not one of them really cried out for making.
Initially we played around with a few possible sequels to the Magic Box, focused on Bob the Unicorn’s childhood, but the rigid control of the rules of that world were too constraining. Also being able to complete an entire installation in a year or less seems an interesting challenge with the potential to dramatically impact its over-all outcome. We were hoping for a work that might be less text dependent, allowing its visceral, emotional content to come to the surface.
An entirely new work seemed in order, so then it was time to begin sifting through ideas.
As one might guess, actually getting to work in the studio brought the best of these to the surface. The last post outlined the evolution of the structure and aesthetics of the upcoming work.
Over the weeks the clay shaped up Gabe and I were refining the overall direction and intent of the installation, with Gabe providing drawings to aid in the conversation.
The concept of the show engages our fascination with ancient funerary art, and religious practices directed toward the dead. Each individual element in the gallery represents a families remembrance and the living process of creation that is the natural product of such a process. We concern ourselves with the boundaries between worlds, feeling that riding that edge is the place where creativity rises.
Funerary art is also some of the most readily available records of extinct cultures. The pseudo-historical potential of work like this allows construction of a narrative without having to outline a specific “story”. The show marks a significant transformation of both the project (Foxy-Wolff) and our personal lives and so thinking of burial to mark that transition makes a weird kind of sense.
Elemental transformation is also a key concept for this work. the geological transformation of the rock cycle referenced through the clay mirrors the transformations of life and death; family member to ancestor. The technological aspect of the show will emphasize these by allowing us to light the gallery with fire and water without having to work with building rules and insurance policies.
With this show we are making an offering to those who come to experience the work. In turn we give those an opportunity to offer something back to the work. By giving sand to the images and objects in the gallery, the viewer brings soul from the earth and allows it to rise, much like the fire and water of the videos.
Weighting To Rise gives us an opportunity to share our passion for the strange and beautiful, to mine the great well of myth and belief that surround death and to invite the viewer to share in the process of making the space and the installation live via their participation through action. The finely rendered paintings, made from the same material as the rest of the work are the center piece of the show and add precision and emotion to the elemental presentation.