Sculptor Joyce Kohl makes objects that interact with viewers, often kinetic, her work approaches the language of motion and suggests an inherent animus that draws the viewer’s curiosity. The interplay of materials, frequently metal, seems to address a sensibility that develops in a world where fabricated structures divide, define and display the components of our daily environments. The scale of the objects appear to refer to a larger compositional framework, an installation could be seen pointing in sympathetic hum towards the buildings, roads, bridges and gardens just beyond the gallery walls. Perhaps this affinity with the structural spaces in Los Angeles made Kohl’s work a natural fit for several public sculptural installations throughout the city core that she has contributed.
The artist explains that the use of assemblage involves juxtaposition between ancient and contemporary. Beyond this, she finds interest in the layers of meaning that accumulate when different objects with different timelines are brought together. Introducing the viewer’s involvement in the piece, it is set in motion in an unpredictable direction. She hopes this success on the part of the work will result in the viewer considering the bigger picture in life – to consider our impact on our environment, the way we are impacted by environment, and the place we occupy in time. View the artist's website at: http://www.csub.edu/~jkohl/
Starting from an abundance of found materials, Nancy Kyes weaves sculptures that explore relationships between matter, science and spirit. Through a considered selection process, charged with personal involvement, each bit of trash that she picks up as she moves through her life in Southern California is woven together. Through tying and attaching - using no adhesives or paint – she builds frequently sizeable sculptures that present models of order and chaos and the many layers of meaning contrasting the part with the whole.
Moving beyond assemblage, the individual bits and pieces, which possess histories of their own, can be honed in on with fascination, a 'material' she crafts herself in order to weave her sculpture. Essentially the artist builds a mental model at the same times as the physical work. This creates a creative disparity between progress in the imagination and the work, as each piece is worked into the whole through both structures. The mental model can expand, and reflects on how the smaller structures can be combined to make collectives, so that many of the works are then grouped as part of a larger model to demonstrate an unfolding, layered relationship between each element and the expanding, energetic nature of reality. Through this internal and external process, she seeks to demonstrate that reality is a tapestry of our lives, and that there is not much separation between anything at all. View the artist's website at: http://www.nancykyes.com/