DANNIELLE TEGEDER

ART & CULTURE

Courtesy of H&R Block Artspace at the Kansas City Art Institute

ARTIST STATEMENT

My paintings, drawings, wall works, sculptures, installations, animation and sound-art are poetic extrapolations of urban construction. They find expression in a personal iconography transfig- ured from the schematics and symbols of me- chanical drawings, maps, and the diagramatics of steamfitting, HVAC (Heat, Ventilation, Air Condi- tioning), plumbing, electrical systems, as well as urban escape routes, traffic routes, park planning, water and waste systems and city waterways. I am a painter working on canvas, but I have also extended my painting to the walls, ceiling and floors, and have further expanded into 3 dimen- sions, and on into digital and sonic dimensions. Though one could find in my work a lineage that would include painters such Malevich and Kan- dinsky, both of whom were interested in blurring media boundaries and/or a synesthesia of sorts, I am nevertheless interested in a contemporary exploration of intersecting media and overlap- ping practices, more particular to the Bauhaus than to Constructivist painters.

The white-walled galleries where I have mostly shown my work are for me never empty. I am thinking not only of what is hidden inside the walls or piercing through the walls, floor and ceiling, but also what is on the outside the walls; the im- mediate environment of trees, sky, daylight, grass as well as the city-wide systems that support the building. I seek through my work to bring the in- side out and the outside in.

Trained as a painter, I’ve been making large-scale drawings for over a decade, and only in recent years have begun expanding my investigations of structure and vision into three-dimensional space. My utopian systems are not self-contained, but instead spill out of their frames and boundaries, engaging with the architectural spaces they in- habit.

Site specific installation detail, Kansas City Art Institute’s H&R Block Artspace. Courtesy of H&R Block Artspace at the Kansas City Art Institute

Chroma Machine Suite: Forecasting Fault Lines in the Cosmos. Photo: Patricia Bordallo Dibildox — Chroma Machine Suite: Forecasting Fault Lines in the Cosmos. Photo: *Patricia Bordallo Dibildox*

Final performative activation detail, Kansas city

This exhibition at the Kansas City Art Institute Art space in Kansas City, MO consists of two new site-specific works created with 14 students at the Kansas City Art Institute during the artist’s residency at the Art space.

In an ongoing exploration of invisible systems, the artist re- veals her deep engagement with ideas of architecture, urban planning, painting and collaboration in a dynamic environment the merges drawing, sculpture, animation, sound, and performance.

This immersive and evolving sculptural installation was re- activated through a series of performative activations in collaboration with guest artists.

Site-specific video and installation, Carrie Secrist Gallery

TURBULENT CONSTELLATIONS Dannielle Tegeder’s newest body of work expands on her ever-evolving exploration of the system that sur- rounds us. This exhibition presents a monumental mobile, an installa- tion of over 70 works on paper, a series of large-scale drawings, video animation, and sound. As a full body of work, oriented within the gallery space to encourage exploration and interpretation, the integration of formal concepts such as archi- tecture and urban planning manifest through abstraction.

For the artwork Spectral Peculiarities for Constellation, composer Mat- thew Taylor has created a 30-sec- ond audio piece specific to each of he 77 elements in Tegeder’s draw- ing installation. Each drawing, or element, acts as a score that Taylor has created and recorded an audio piece for. Throughout the duration of the exhibition, Taylor has com- posed new scores to be added to the cosmology of sounds, culminat- ing in a complete library of sound by the end of the exhibition. The audio will be played in the gallery space along with a screen that will exhibit each drawing as it is being played.

In this photo Artist Peter Halley stands in front of Dannielle Tegeder.

2016 - Gouache, ink, colored pencil, graphite, water-based spray paint, pastel on Fabriano Murillo paper - 79 x 55 in., New York, Johannes Vogt Gallery

BLIND HIERARCHIES
With “Blind Hierarchies,” Tegeder has envisioned an exhibition in flux: she has chosen to not hang her framed drawings and paint- ings statically on the wall, as they have previously been presented. instead, they are placed on a se- ries of carved wooden pedestals whose geometric forms echo Brancusi’s sculptural displays while their shapes are derived from the artist’s drawing practice. Every week over the course of the exhibition, Tegeder will rein- stall these in a new configuration, placing her work further in dia- logue with experimental exhibi- tion design and display strategies of the early twentieth century. She creates a sense of the gallery as a stage set— reinforced by the prop- like components of the in- stallation—and, in doing so, invites viewers to rethink the ways we see and experience space.

Carrie Secrist Gallery,“Artificial Life Modern System with Invisible Diagrams on Shelving, Canvas Crash, Glass Schema Map, Mahogany Break Down, and Pat- terns of Collision “ - Glass, stained glass, mahogany, repurposed wood, balsa wood, house paint,… — Carrie Secrist Gallery,
“Artificial Life Modern System with Invisible Diagrams on Shelving, Canvas Crash, Glass Schema Map, Mahogany Break Down, and Pat- terns of Collision “ - Glass, stained glass, mahogany, repurposed wood, balsa wood, house paint, graphite, ink, mirror, shelving, metal, paper, and frame - 12 x 30 ft.

DECONSTRUCTED PAINTINGS “The Artist’s interest in systems and their discontents manifests in a typological array - of tiny collages, painted panels, sheets of glass - that tantalizes with the promise of coherence and cohesion and delays that catharsis that catharsis infinitely. It is a supercollider in a state of suspended animation, subjecting any notion of composition to rigorous deconstruction”.

-Stephen Maine, from Catalog wall works

Constructing an Evolutionary System - Photo credit The Painting Center (NYC)

Investigatory Schema Map: With Breakdown Classified Structures - Photo credit Kent Fine Art

ACHIEVEMENTS
Born in Peekskill, NY, she currently lives and works in Brooklyn, New York.
She received a BFA from the State University of New York at Purchase, and a MFA from the School of the Art Institute of Chicago.
For the past fifteen years, her work has explored ab- straction. While the core of her work is paintings and drawings, she has recently begun to include large- scale installation, sculptural objects, video, sound, and animation.
Her work has been shown at PS1/MoMA, New York; The New Museum of Contemporary Art, New York; Wellin Museum of Art at Hamilton College; The Wexner Museum, Ohio; National Gallery in Washing- ton D.C.; Museum of Contemporary Art in Chicago; Xippas Gallery, Paris, France; The Brooklyn Museum, New York, York, NY; Bronx Museum, New York, NY; Neuberger Museum of Art, Purchase, NY; John Con- nelly Presents, New York, NY; Jette Rudolph Galerie, Berlin, Germany; Suzanne Vielmetter Projects, Los Angeles, CA; Johannes Vogt Gallery, New York, NY; Carrie Secrist Gallery, Chicago, IL. among others.
Her works have been purchased as part of the Con- temporary Drawing Collection at the Museum of Modern Art, and is in the permanent collections of The Museum of Contemporary Art in Chicago, and The Weatherspoon Museum of Art in Greensboro, NC.