The work in these slides uses an optical principle similar to that of a camera obscura: an image of the world is projected onto the walls of a darkened space via small apertures and simple lenses. But unlike a camera obscura, which creates an image of the actual world outside, these images are the coinciding effect of carefully chosen, simply contrived materials and the viewers’ pre-inclination to perceive a landscape or spatial realm where one is implied.
I like to think that my work preys on passive tendencies (the ease of visual suggestion), but also requires an active viewing position, whether a direct physical action – as with the kinetic work, or a cognitive action – that of reconciling a seductive spatial illusion with the modesty and absurdity of an immediate material reality.
Recently, I have used a reductive strategy in my work, finding the simplest means and the most provisional arrangements of materials to yield the greatest effect. I think this approach has made this work stronger, but there are qualities worth pursuing in the the kinetic, physically interactive work as well. With a studio space for an extended period of time, I could consider going back in the direction of increased complexity, working on the kinetic pictures machines that were the origin of this body of work. This residency could help provide that time and space. I have a job that allows me to work 3 days a week, so I have the time to make use of a studio, but not the income to pay additional rent. I just began a Studio residency for 6 months at Triangle Arts that ends in March of 2006. The Cue Residency from April-June 2006 would be ideal, providing continuity in my studio work.
I would be enthusiastic to participate in your educational programs…interaction in the studio environment keeps things moving in a way that I like. would be willing to help develop educational projects related to some of the strategies I use in my work. I like the idea that art can be used to empower children to active positions in the world, not illustrate how or what art should be. I am interested in the possibility of power through de-mystification, both in the work I make and in education generally.
SELECTED EXHIBITIONS
Analog Animation, The Drawing Center, New York, NY 2006
Projects ’05, The Carriage House at the Islip Art Museum, Islip, NY 2005
Nimbi Penumbri, D.U.M.B.O Arts Center (DAC), Brooklyn, NY 2005
I Am 5: Parker’s (International Art) Market, Parker’s Box, Brooklyn, NY 2005
Now Playing, The Ritz Gallery, Newburgh, NY 2005
Landscape Painting, solo show, Kunstverein Langenhagen, Germany 2004-05
Presence of Light, The Berkshire Museum, Pittsfield, MA 2004
AIM 24, The Bronx Museum, Bronx, NY 2004
Devilish, Delicious, Decadent, 3-D Invitational, University of Akron, Akron, OH 2004
New Installations, The Mattress Factory, Pittsburg, PA 2003-4
Landslide, Smack Mellon Gallery, Brooklyn, NY 2003
Six Projects @ LIU, group outdoor show, Brooklyn, NY 2003
Liza McConnell & Chris Gose, two-person show, Gettysburg College 2003
Some Space Between, Skylab, Columbus, OH 2001
RESIDENCIES, LECTURES & AWARDS
Center for Exploratory and Perceptual Art (CEPA) Project Residency, Buffalo, NY 2005-06
Triangle Studio Residency, Brooklyn, NY 2005-2006
Sightlines: The Culture and Science of Vision, NEASA Conference, Worcester, MA 2005
Bemis Center for Contempoary Art, Artist Lecture, Omaha, NE 2004
Headlands Center for Contemporary Art Residency, Sausalito, CA 2004
The Bemis Center for Contemporary Art Residency, Omaha, NE 2004
The Mattress Factory Residency, Pittsburgh, PA 2003
Smack Mellon Studios Residency, Brooklyn, NY 2003
Center for Land Use Interpretation Residency, Wendover, UT 2002-4
Pratt at Munson Williams Proctor Institute, Artist Lecture, Utica, NY 2002
Ohio Arts Council 2003 Individual Artist Grant 2002-3
Sculpture Space Residency, Utica, NY 2002
Center for Land Use Interpretation Residency, Wendover, Utah 2002-3
Think Tank on New Performance Tools, Artist Lecture, The Ohio State University, Columbus, OH 2002
Graduate Student Alumni Research Award, The Ohio State University 2000
SELECTED BIBLIOGRAPHY
“Langsam, aber sicher” Kristina Tieke, Hannoversche Allgemeine Zeitung, NR 298, Dec. 20, 2004
“Landschaften tauschend echt: Liza McConnell stellt aus” NordHannoversche Zeitung, NR 298, Dec. 20, 2004
“AIM24 – Artists in the Market Place” Julia Herzberg, ArtNexus 54:3, Oct 2004, pp 176-177
“Seeing the Light” Timothy Cahill, Albany Union Times, Sunday September 12, 2004
“ANIMATE: Johnston Foster and Liza McConnell” Horace Brockington, NY Arts, Volume 9, No. 5/6, May/June 2004
“Art Review; A Chance to Fill Up on Visual Treats” Benjamin Genocchio, New York Times, April 25, 2004
“Landslide” John Hawke, Artseen, The Brooklyn Rail, Oct. 2003
“Mattress Factory Installations Open Up Different World of Art,” Kurt Shaw, Pittsburgh Tribune-Review, Oct 26, 2003
“From Ice Storms to Bike Gears”, Alice Winn, Pulp, Volume 02, Issue 34
“Model/IdeaLandscape” Spector Magazine, Leipzig, Germany, Volume 3, 2003
“Two Exhibits Display Creative Methods Of Reusing Materials”, Bill Mayr, Columbus Dispatch, Aug. 15, 2002
EDUCATION
The Ohio State University, Master of Fine Art, Sculpture 2001
Cornell University, Bachelor of Fine Art, Sculpture 1995