This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.
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Artist Statement
Neurologists have determined that the old brain holds the seat of our most primal understandings of the world. Goodwill, security, fear, anxiety, self-protection, gravity, sexuality, and compulsive behaviors are generated from this lower cerebral core. My sculpture and drawings inhabit a non-verbal place resonant with such primal human conditions. Systemic and non-representational, the work is subtle, rhythmic, abstract, and immersive. I find beauty and disturbance through shifts in tool, layering, and material to create passages of tone, density, speed, path, and frequency within a system. The work references physiological systems - such as heartbeat, respiration, neural paths, equilibrium - and psychological states. I've come to understand my work as a kind of self-portraiture. Within the quiet reserve and formal abstraction is a strong impulse to speak from a deep place within myself about what is private, vulnerable, fragile, and perceptive to the human condition. My work is a mirror of how I experience the world, as I negotiate physicality, optics, and ideas through my drawing languages, my voice withholds, blurs, teases, and veils. shift lens is a response to the front third floor of the Mattress Factory's 1414 Monterey gallery. It was likely originally used as a bedroom, with two sash windows, woodwork, and a painted wooden floor. I was particularly taken with how the windows are like a lens, as though you are on the inside of a camera. I decided to stretch taut thread in vertical and horizontal directions within the architecture - in cool and warm tones - in front of the windows to filter the natural light, alter your vision, and create a floating volume of color. The work measures twenty feet wide by eight feet high by five feet deep and is made with Egyptian cotton and staples. I made the work in scale to your body, with its bottom edge near your knees and its top at the reach of your hand as it reaches overhead. This is the zone of your body's primal and physiological understanding of space. I frequently return to subtle distinctions between drawing as nouns and verbs, as it is a long-held focus in my studio practice. This blurred distinction drives my fascination with and expanded definition of drawing languages and the resurgence of drawing in contemporary art. My collective body of work is an iteration of this language.
When
2015
Anne Lindberg was born in 1962 in Iowa City, IA. She creates room-sized drawings in space using multiple strands of colored thread to reference physiological systems such as heartbeat, respiration, and psychological states. Lindberg received an MFA in 1988 from Cranbrook and her work has been shown at major venues throughout the world, including the United States Embassy in Rangoon. She recently completed a commission for the GSA Art in Architecture program for a federal building in Kansas City.
