EXHIBITION

Untitled
Untitled

collaborative installation with Linn Meyers
8-channel digital sound + wall drawing
variable duration/dimension

EXHIBIT: Here TodayArt Gallery of University of Maryland [ College Park, Maryland, US ] February 11 – March 13, 2009

Linn Meyers is the first participant in the artist-in-residence program at The Art Gallery. The Art Gallery launched an artist-in-residence program as an opportunity for artists to create site-specific installations and to give artists a space in which to imagine new ways to work. The residency is followed by an exhibition of the realized project and, in this instance, documented through time-lapse video and accompanied by a color brochure.

here today showcases two large-scale wall drawings by Linn Meyers. The wall drawings reflect a current trend occurring in her work in which the center of the image is filled with pulsating, curvilinear forms winding in a dramatic and moving pattern that reverberates out to the edges with fewer and more defined repeated lines. Visitors are immediately aware of transformation of the gallery space with the construction of a forty-four foot long concave wall covered by Meyers’ drawing, the artist’s largest wall drawing to date. The exhibition also features a number of smaller drawings on mylar, and what Meyers refers to as “preparatory drawings” created as part of the process leading up to the wall drawings.

The back gallery space features a unique first collaborative project between Meyers and sound artist Richard Chartier, in an installation where optical and sonic patterns intersect. With another architectural transformation of the gallery space, two fifteen foot long by eight foot high walls meet in an enfolding chevron, creating both a sound chamber and a drawing surface. The swirling lines of Meyers' drawing, made directly on the surface of the walls, fuse together with the sound piece by Chartier, juxtaposing the organic and the digital into unified sensorial space. With eight audio transducers applied directly to the back surface of the walls, Chartier's stark composition modulates and transfers through the surfaces.

Linn Meyers is an artist based in Washington D.C. Her art is featured in many collections throughout the country including: The Hirshhorn Museum and Sculpture Garden, Washington, DC; National Museum of Women in the Arts, Washington, DC; and the New Britain Museum of American Art, New Britain, CT. Her art has been featured in exhibitions at the Bus-dori Project Space and the Tokyo Metropolitan Museum of Art, in Tokyo, Japan; Gallery Joe in Philadelphia, PA; G Fine Art in Washington, DC; and Margaret Thatcher Projects in New York City. She received her BFA at The Cooper Union in New York and her MFA at the California College of the Arts in San Francisco.

Richard Chartier is a sound/installation artist based in Washington D.C. His minimalist sound works and installations have been presented internationally in exhibitions at museums and galleries including: the ICC (Intercommunication Center) in Tokyo, Japan; Castello di Rivoli in Torino, Italy; Whitney Museum of American Art in New York; The Art Institute of Chicago; and G Fine Art in Washington, DC. He has performed his works live throughout the world at festivals, museums and art spaces in Europe, Japan, Australia, and North America.

CATALOG: Featuring an interview with Linn Meyers by Jefferson Pinder, assistant professor in the Department of Art, and Lara Langer, Ph.D. student in the Department of Art History and Archaeology. Including full color illustrations of the two large wall drawings created in situ during Meyers artist-in-residence at The Art Gallery in January-February, 2009.

CD: a stereo composition based on the installation work will be released in March 2009 by the label Non Visual Objects (Austria) as a CD limited edition of 300.

ARTIST TALK: Linn Meyers & Richard Chartier,  February 21, 2009

PHOTOS: Lee Stalsworth

REVIEWS

TEMPORARY PLEASURES
Linn Meyers' new wall drawings unwind in epic proportion in "Here Today," her latest exhibition on display at the Art Gallery at the University of Maryland, College Park.

Meyers has a meticulous way with lines that results in intricate but naturally flowing patterns. Like her small-scale works, Meyers' new oversized efforts — including one created with local sound artist Richard Chartier — reveal Meyers' purposeful process to flattering effect.

The first piece explodes from the center of the front gallery's concave wall like a Big Bang, with forms resembling wisps of hair unraveling toward its edges. But the real spectacle is the lines themselves. Upon closer inspection one can see the interplay of color and motion in Meyers' work that gives it its unique, resonant quality.

"We were going to put a disclaimer on the door that said if you suffer from a seizure disorder, do not enter," says Meyers jokingly.

"Every time I walk into the gallery, I see it differently," she adds, quizzically noting the drawing's "different proximities." That aspect of the final product she admits to marveling at but not to have necessarily intended in undertaking her largest drawing to date.

The second work consists of two smaller canvases that fold together toward a point of no return and take on a sculptural quality. Abuzz with Chartier's eight-channel digital audio composition, the piece allows for another experience altogether: its reverberations draw you into the ensuing vortex along with Meyers' spiraling, curvilinear inlay.

Chartier said he wanted the sound to "seep" into Meyers' work, which it does literally through transducers (instead of speakers), so the art becomes the amplifier. The result is a sublime sense of balance in keeping with Meyers' organic executions.
(Washington Post Express, US)

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excerpt from: Artist Goes Flat-Out to Draw the Viewer In and The Story Behind the Work


"When I'm working, I'm inside of it," says the Washington-based artist, who has works in the collections of the Hirshhorn Museum and Sculpture Garden and other museums. "That I can bring the viewer to that point is a goal. A lofty goal."

In that regard, a second drawing is even more successful than the first. Located in the gallery's back room, the collaborative installation with D.C. sound artist Richard Chartier is a kind of walk-in drawing, a surround-sound environment that pairs Meyers's vibrating visuals—one on the right, one on the left—with an equally minimalist soundscape featuring Chartier's trademark digitally rendered "music."

Chartier's composition evokes keening whale song one minute, distant crickets the next. A theremin-like sci-fi score threads in and out, punctuated by vaguely recognizable noises. A dropped pen cap? Something rubbing up against something else? Static?

Here, the two walls on which Meyers has drawn come together to form a "V." Enter it, and after a few steps you're standing, quite literally, inside it.

... The collaboration between Linn Meyers and Richard Chartier boasts, according to the wall label, eight "audio transducers" applied directly to the back surface of the walls on which Meyers drew her art. Translation: "The entire drawing is a speaker," Chartier says.

Want to test it? Place your hand on either of the two blank white walls just to the right or left of the entrance, being careful not to touch the drawing itself. Those throbbing bass notes, which you may feel before you hear them, are coming from one of two woofers. Three additional pairs of higher-frequency transducers (or tweeters) are hidden behind the drawing itself.

The alliance between the two artists was almost four years in the making. That's when Meyers and Chartier, whose sound art was featured in the 2002 Whitney Biennial, first started talking about working together.

This particular A/V partnership began with Chartier's soundtrack. As it happens, he almost immediately had to revise it, after seeing the first few feet of Meyer's drawing. Originally trained as a visual artist and designer, he says his composition felt too "dense" for Meyers's wavy lines of light, grayish wash. Back to the drawing board -- or, in this case, Chartier's computer -- to tweak the piece. Fortunately, the software he uses translates sound into visible wave patterns (i.e., he can see it on the screen, as well as hear it).

His solution? "I tried," he says, "to make it float."
(The Washington Post, US)