object maker
strut
The Politics of Fear
Gallery 53
June 14 - July 4, 2016
53 Rocky Neck Ave. Gloucester MA 01930
Reception: Saturday June 17 6 to 8 PM
strut
53 Rocky Neck Ave. Gloucester MA 01930
Reception: Saturday June 17 6 to 8 PM
The series "Politics of Fear" reflects the deep anxiety i have been feeling since the recent election. I have been disturbed by the trend of political leaders to link policy to personal identity - specifically an overtly dominant and angry maleness. The pieces fell together by chance combination of mulitple plastic horses the kind young girls collect I had in my studio, with the image of Four Horsemen of the Apocalypse, the widely circulated photo of a bare chested Putin astride a horse and his bromance with Trump. The idea that macho showmanship has replaced rational thought is at the heart of these pieces.
2017
13" x 14" x 9"
mixed media assemblage
2017
6" x 9" x 4"
mixed-media assemblage and graphite
2017
11" x 20" x 5"
mixed-media assemblage and graphite
2017
11" x 20" x 5"
mixed-media assemblage and graphite
2017
10" x 8" x 6"
mixed-media assemblage and graphite
fake news
2017
8" x 5" x 5"
mixed media assemblage
2017
11" x 11" x 4"
assemblage with mixed media
2017
11" x 11" x 4"
assemblage with mixed media
2017
72" x 20" x 19"
mixed-media assemblage, plaster and acrylic mediums
2017
72" x 20" x 19"
mixed-media assemblage, plaster and acrylic mediums
2017
72" x 20" x 19"
mixed-media assemblage, plaster and acrylic mediums
2017
13" x 11.5" x 11.5"
mixed-media assemblage and graphite
2017
13" x 11.5" x 11.5"
mixed-media assemblage and graphite
2017
15" x 12" x 4"
assemblage with mixed media
2017
5.5" x 6" x 3"
mixed-media assemblage and graphite
2017
5" x 8.5" x 4.5"
mixed-media assemblage
2017
6" x 5" x 3"
mixed-media assemblage and graphite
2017
10" x 10" x 10"
mixed-media assemblage and graphite
2017
12.5" x 8" x 6"
mixed-media assemblage
2017
7" x 5.5" x 4"
mixed-media assemblage and graphite
2017
10" x 10" x 10"
mixed-media assemblage and graphite
2017
6" x 5.5" x 5.5"
mixed-media assemblage and graphite
2016
10" x 8" x 7"
mixed-media assemblage and graphite
2016
10" x 8" x 7"
mixed-media assemblage and graphite
2016
9" x 8" x 5"
mixed-media assemblage and graphite
2016
9" x 8" x 5"
mixed-media assemblage and graphite
The work in this series combine shards of broken Pre-Columbian pottery with 20th century plastic toy parts. Many of the pieces are a combination of broken Pre-Columbian (Mayan or Nayarit) figures, primarily the lower torso. Others are made with the feet from broken tripod bowls of the Chupicuaro culture of southwestern Mexico. (300 to 200 BC) The resulting "mash-ups" form a humorous contrast of culture and time, while at the same time reflecting a certain anxiety about the state of our cultural identity.
left: pre-columbian western Mexico figures. apx. 700-900 a.d. right: Chupicaro tripod bowl, apx. 300-200 b.c.
2016
5" x 2.5"
PreColumbian (Mayan/or Chupicuaro) shard
toy hat and bowling trophy base
2016
7" x 3" x 3"
PreColumbian (Mayan/or Nayarit) shard
plastic baseball player
2016
PreColumbian (Mayan/or Nayarit) shard
plastic baseball player
2016
PreColumbian (Mayan/or Nayarit) shard
and plastic doll’s arms
2016
PreColumbian (Mayan/or Nayarit) shard
styrofoam pickle and refrigerator magnet
2016
PreColumbian (Mayan/or Chupicuaro) shard
plastic toy figure
2016
PreColumbian (Mayan/or Nayarit) shard
plastic garden Gnome head and droopy things
2016
PreColumbian (Mayan/or Nayarit) shard and
plastic doll shoes
2016
plastic leopard and styrofoam pickle
2016
PreColumbian (Mayan/or Nayarit) shard and
plastic Barbie purse
The installation "PRONK!" is an exuberant contemporary dialog with a 17th-century painting by Adriaen van Utrecht in the tradition of Dutch pronk still lifes (after the verb pronk, meaning to "show off").
Volp, who works in assemblage, combines materials including fake fruit, faux cockatoos, thrift-shop antiques and wood-grained spandex to address the parallels between the “ostentatious display” of commodities during the Dutch Golden Age and today’s conspicuous consumption.
Drawing on her longstanding engagement with the field of visual culture, she began by deconstructing van Utrecht’s painting through close looking to discover the relationships between the image and the viewer, or consumer, finding the narratives signaled by the objects and their arrangement, placement and perspective. The resulting riotously exuberant works humorously comment on the seemingly incongruous elements of the still life, not least of which is the titular live cockatoo (represented by a not particularly lifelike plastic parrot).
-Mary Bucci McCoy
read the full ESSAY BY MARY BUCCI MCCOY
95” x 45” x 41”
Assemblage with stacked tables and faux fruit. Reproduction on canvas of Adriaen van Utrecht Still Life with Game, Vegetables, Fruit and Cockatoo 1650, by permission of the Getty Center
Assemblage with chair, flocked faux fruit and paint spills, Spode plates and parrot lamp disguised as a cockatoo. Reproduction on canvas of Adriaen van Utrecht Still Life with Game, Vegetables, Fruit and Cockatoo 1650, by permission of the Getty Center
Assemblage with wood ring, hooks, chain and the artist' son's old stuffed animals taken apart and reassembled. Reproduction on canvas of Adriaen van Utrecht Still Life with Game, Vegetables, Fruit and Cockatoo 1650, by permission of the Getty Center
Digital Reproduction on canvas by permission of the Getty Museum Center
40" x 21" x 7"
assemblage with faux fruit, fake flowers, ribbon, wood box, plastic IKEA frame on fabric with acrylic mediums.
28" x 50"x 1"
photo transfer on fabrics, vintage decal, and oil mediums on Sintra. Image is a reproduction of Frans Synders' Still Life with Fruit, Dead Game, Vegetables, a Live Monkey, Squirrel and Cat
The origin of the Western genre of Still-life paintings began in the late 16th century to flourish during the 17 c. Dutch Golden Age, evolving into what is called pronkstilleven (still-lives of ostentatious display). Pronk paintings documented the upper classes’ abundant accumulations and in turn the paintings themselves became a commodity of value. I see a correlation between the social and economic conditions then and that of today: expanding global trade combined with unethical labor practices, special interest controlled domestic policies and rocketing inequity - all in the midst of abundance. Landfills of abundance.
In using these throw-away, made-in-China materials while referencing valuable works of art from the past, I hope to create work that in turn comments on the evolution (or not) of cultural perspectives and values, such as global commodification.
assemblage with faux fruit, objects and pantyhose
assemblage with faux fruit, objects and pantyhose
assemblage with cloth, IKEA frame, fabric, faux fruit, tape, string and acrylic mediums
40' x 40' x 12"
assemblage with fake fruit, panty hose, string, cloth and acrylic mediums
36" x 36" x 5"
photo transfer on fabric with oil paint and zippers
58" x 14" x 14"
plaster column, porcelain basket, on platform and wheels
36" x 36" x 5"
photo transfer on fabric with oil paint and zippers
40" x 28" reproduction on canvas of Still Life with a Dead Stag, Grapes, and a Melon in a Basket and a Hung Peacock from the studio of Frans Snyders and old wood fur stole hanger on a horseshoe hook
8" x 8"
digital photograph and acrylic mediums on Sintra
50" x 28" x 1.5"
digital transfer of Still Life with Fruit, Dead Game, Vegetables, a Live Monkey, Squirrel and Cat by Frans Snyders on fabric, vintage decal, and oil paints on Sintra
16" x 4.5" x 6"
assemblage with flocked fawn and animal skull
18" x 11" x 11"
assemblage with plaster home decor, wood recipe file box, wooden flower and pitcher decor on plans stand.
13" x 8" x 8"
assemblage with wood, marbles, tea cup, ball, old Easter egg, plastic fan, spandex white panty hose and ceramic Chinese version of a Minnie Mouse
13" x 8" x 8"
assemblage with wood, marbles, tea cup, ball, old Easter egg, plastic fan, spandex white panty hose and ceramic Chinese version of a Minnie Mouse
The show Within These Walls, explores the subjective and transformative nature of “home” in shaping our identities. Various pieces speak to the expectations and influences that occupy our childhood, those myths, fairy tales, cultural and religious mores which continue to ripple through our adult lives, leaving a wake of unforeseen consequences.
click for the Mar/Apr 2013 issue Artscope Magazine article on this exhibition
54' x 54" x 2" (wall piece)
Photo transfer on handprinted faux wood paneling, fishing wire and hook, push pins, lingerie lace, and ice fishing tip up. Toy tool box with flocked lincoln logs.
flocked lincoln logs in vintage toy tool box
assemblage with large plastic pumpkin, faux fruits, balls, toys, panty hose and string on toy baby carriage frame
35" x 25" x 63"
assemblage with large plastic pumpkin, faux fruits, balls, toys, panty hose and string on toy baby carriage frame
92" x 14" x 14"
assemblage wood, table legs, tape, hardware and old hand made altar
34" x 34" x 2"
acrylic mediums and graphite on canvas with binding
40" x 35" x 10"
assemblage of faux fruit, toys, spandex, panty hose, string and acrylic mediums over a mirror
The relationship of Word and Image is a consistent theme in my work. I am fascinated by language systems and how structure and context affect meaning. And as with any relationship, there are opportunities for conflicting priorities, suspicion and miscommunication.
1.Babel - (Genesis 11:11) a tower built by Noah's descendants (in Babylon) who intended it to reach up to heaven; God foiled them by confusing their language so they could no longer understand one another
2.babel - a confused mixture of sounds, voices, or languages; a confused assembly.
Dyslexia is language-based learning disability. Persons with dyslexia often experience difficulties with both oral and written other language skills, such as writing, and pronouncing words and writing.
Dyscalculia – a mathematical disability in which a person has unusual difficulty solving arithmetic problems and grasping math concepts.
Dysgraphia – a condition of impaired letter writing by hand—disabled handwriting. Impaired handwriting can interfere with learning to spell words in writing and speed of writing text. Persons with dysgraphia may have only impaired handwriting, only impaired spelling (without reading problems), or both impaired handwriting and impaired spelling.
15-20% of the population has a language-based learning disability.
2014
digital print on acrylic skins, wood ruler, acrylic mediums on Sintra
48" x 48" x 4"
mixd media with canvas, zippers, oil paints and plaster cast letters covered in graphite
2001
20" x 12" x 10"
found pencils, string and gesso
2001
8" x 10" x 8"
found pencils, cardboard, thread, fishing hook and gesso
2014
20" x 20"
vellum prints, acrylic, tape, wood and hardware on Sintra
2004
72" x 36"
mixed media and acrylic on birch panels
The works on this page with the exception of The Twins were created from the photos taken by my father Clarence R. Volp.
digital transfer of photo by artist's father on fabric and Sintra; oil paint.
24" x 48" x 2"
digital transfer of photo by artist's father on fabric and Sintra; oil paint.
36" x 48" x 2"
digital transfer of photo by artist's father on Sintra; wood sting and oil paint
30" x 40" x 1"
digital transfer of photo by artist's father on clay and canvas; zipper and oil paints
48" x 60" x 2"
digital transfer of photo by artist's father on damask fabric with oil paints
digital transfer of photo by unknown relative on fabric and Sintra; eye hooks and oil paints
24" x 24" x 2"
man's blue dress shirt, tape, acrylic mediums on wood
24" x 24" x 2"
man's dress shirt, acrylic mediums and graphite on wood
30.5" x 24.5" x 2"
man's dress shirt with gel transfers, acrylics, ink and graphite on wood with 4 small canvas panels
each panel: 24" x 24' x 2"
yellow tuxedo shirt, acrylic mediums on wood
man's shirt with hidden objects, paper, acrylic paints and graphite
"A firm rule must be imposed upon our nation before it destroys itself. The United States needs some theology and geometry, some taste and decency. I suspect that we are teetering on the edge of the abyss." Ignatius J Reilly
-John Kennedy Toole, A Confederacy of Dunces
36" x 36" x 2"
photo transfer, acrylic mediums and graphite on Sintra
14" x 14' x 2"
photo transfer on fabric, acrylic mediums adn graphite on wood
14"x 14" x 2"
various transfer method, oil paint on cloth and wood
18" x 18' x 2"
prints on metal, string, tape, oil paint on fabric and wood
20" x 23" x 2"
vellum, tape, acrylics, and wood o Sintra
24" x 24" x 2"
paper, acrylics, plastic rulers, screws on wood
14" x 14" x 2"
wood, screws, graphite covered bamboo dowel, string, oil mediums on fabric an wood
14" x 14" x 2"
transfers, plaster, cloth, oil paint, crayon on wood
8" x 8" x 2"
paper, transfers, metal, acrylic mediums and plexi
