How do we live? We exist simultaneously between seconds that can be apocalyptic and graceful, minutes that are mediocre, and hours that stand still. History records these occurrences, outlined in ink, pressed between pages in books, placed above us, and out of reach. But a tradition that relies on the mechanical application of time recognition, and removes our experiences into singular episodes with no intersections, cannot truly document our experiences. We are flesh and bone, and our memories and stories beloved.
During my residency with the de Young I will be pursuing this line of questioning and observation with a body of work called “Days and Occasions”. This text based installation and work on paper will question how we view time, memory, and history as linear isolated constructs instead of concurrent moments. Physically, “Days and Occasions” consist of text applied directly to walls with graphite. Each line of events/moments/observations is separated by increments of time that run parallel to each other to emphasize the analogous nature of our reality. For my residency at the de Young there will be two projects occurring. The first will involve “Days” being applied to a long role of paper and wrapped around the walls that have the video screens. The work on paper will also function as a new screen where images will be projected to interact with the text on the paper. With this technique of documentation I am recording what happens between the minutes and seconds, the sublime to the ridiculous, the tragic and beautiful in order to create an account that is infinitely more intimate than what we are subjected to in our daily lives.
By constructing the piece in this manner I am creating a specific site that has to be navigated physically and conceptually.
For the second part of the project, visitors will be invited to contribute their “Days and Occasions” along with my observations by stenciling directly on to the wall of the Kimball Gallery. The goal of the project on this scale is to have a physical record of the simultaneous and overlapping nature of our mutual existence.
Rodney Ewing is an artist working out of San Francisco California. His drawings, installations, and mixed media works focus on his need to intersect body and place, memory and fact to re-examine human histories, cultural conditions, and events.
With his work he is pursuing a narrative that requires us to be present and intimate.
Rodney Ewing’s work has been included in numerous group and solo exhibitions including: Hiraeth (University San Francisco 2015) Ebb/Flow (Pro Arts Gallery 2014), ASC Projects Artist in Residence (2014), “Introductions 2014” (Root Division 2014), “The Intuitionist” (The Drawing Center, NY 2014), “Rituals of Water”(Ictus Projects, 2013), “Pulp 2- Ire Straits”(Beta Pictoris 2013),“Surveillance”(Institute for Performing Arts, 2011),“Unwashed Saints”(Dog Patch Gallery 2011) “Tech Tools of the Trade: Contemporary Media Art” (de Saisset Museum, Santa Clara University, 2009) “Art Dubai”, (Frey Norris Gallery) “Public Safety, (Frey Norris Gallery, San Francisco, CA 2008) “Code Switching”,(Red House Gallery, Santa Monica, CA 2007), “Who’s Afraid of San Francisco (Frey Norris Gallery 2006), Lisa Dent Gallery (San Francisco, CA 2005), and Cartography (Johnsonese Gallery, Chicago, IL 2005
Every month the museum invites artists to install and demonstrate their art form at the de Young. This interactive program enables visitors to meet artists and experience their process of making new work.
The Periscope Project aims to find ways to engage audiences and artists online. Through the Periscope Project, we invite you and the artists to engage in the project before and after the onsite residency. With artist talks, chats, hands-on activities, visitors’ stories, and other online programs, the museum seeks to expand peoples’ awareness of and experience of the artistic process, while allowing artists to build a community, locally and globally.
The de Young Periscope Project is generously funded by the Institute of Museum and Library Services.