Osage orange root, sumac
In the dimly lit space, an overturned root of an Osage orange tree leaves little room for movement. All soil has been cleaned away, revealing patches of orange-red skin.
A long sumac limb, stripped to smooth whiteness, curls itself midair in the first room. It forces itself through the wall into an adjoining room.
I am working with tree forms I find in the urban landscape where I live. I choose these forms according to the ideas I am working with, or in the case of site-specific installation, as they work in that particular space. I change the original gesture of the form very little. In some cases, I may strip the forms, sand them, add additional parts or remove parts as I feel the need. I am interested in the inherent expressiveness of wood forms juxtaposed to or integrated with architecture. Geraldine Ondrizek received her BFA from Carnegie Mellon University and her MFA from the University of Washington. She is a Professor of Art at Reed College in Portland, Oregon. For the last twenty years she has created architecturally scaled works that house images and forms inspired from medical and biological information. This work, often based on the minimalist grid and conceptual strategies of art making, are meant for interaction and engagement with the viewers. Ondrizek’s work aim at questions of life’s origins, life cycles, and ethical issues related to genetics and the possibility to unravel genetic conditions. Ondrizek’s work has been shown widely in galleries and museums, including 30 solo exhibitions and numerous group shows. She was the recent recipient of an Oregon Council and Ford Foundation Professional Development Grant for the creation and exhibition of Chromosome Painting. Ondrizek also received the Stillman Drake Fund, the Levine Fund and Mellon Foundation Faculty Research Awards; and in 2006, won the Oregon Council on the Arts Fellowship.