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ARTIST’S STATEMENT AND WORKING DOCUMENTATION FOR BUILD IT UP KNOCK IT DOWN

Mr. Palomar is standing on the shore, looking at a wave. Not that he is lost in contemplation of the waves. He is not lost, because he is quite aware of what he is doing: he wants to look at a wave and he is looking at.

~ from Mr. Palomar: Reading A Wave, by Italo Calvino

Involvement in this exhibit Phantom Floor had a profound impact on me; no less than reminding me why I became an artist. When I first walked into an art studio sixteen years ago it was because of the urge to experience the world through the senses in order to better understand the whole of experience. Phantom Floor has reminded me that this fundamental desire drives not just my art, but my personal beliefs and serves as the a bridge over which I seek to engage others in my work in order that their personal perceptions are inflamed by objective experience of their senses, as much as their subjective view of art. For all the history, theory and philosophy and business acumen that drives art, at the core being an artist is sharing your experience in such a way that the subjective wall is shattered and the viewer can objectively connect. Calvino’s opening lines to Mr. Palomar quoted above beautifully and succinctly express just this.

The first definition of art in Webster’s 9th New Collegiate Dictionary is “skill acquired by experience study or observation”. It is not until the fourth definition that the pedestrian matter of aesthetic objects like painting, sculpture and tea kettles even comes into play. Still I strive to lure viewers into investigating the sculptures or installations through the use of recognizable and occasionally organic materials. I have worked in the production of both independent film, and live theater and have seen thousands of local live music performances. The study of space, timing and energy in live performance carry into installations designed to tempt the ‘viewer’ into interacting with the piece on a physical level first and foremost. Techniques like sewing, collage and photography are employed to make the works palpably attractive in the hope that once physically engaged, intellectual and emotional engagement will follow.

~Karen Joan Topping, 7/2006

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