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Jarvis Fosdick

May 7, 2010

Jarvis will be working and showing his artwork at Art Lab Loveland from May 14 to June 9th:

Info about the Artist:

Jarvis Fosdick is a visual and installation artist based in Loveland, Colorado.  He studied landscape architecture and sculpture at Colorado State University, a training that underlies his current artistic process at the intersection of organic and industrial materials and forms.

In one on-going sequence of “painitngs,” Fosdick is experimenting with a quilting procedure inspired by contemporary painting, philosophies of regional and trans-national movement (a nomadics), and the poetics or rhythmn of “the stitch.”  By cutting up his carefully and painstakingly painted and constructed art-text collages, then re-sewing  them with synthetic rope or string knots, Fosdick embeds his studio practice into what we see.  This is a cyborg process, in the sense that it foregrounds both planetary and post-planetary drives: the lyric possibility of the painting or collage, and what comes afterwards: both semblance and monstrosity.  It is as if, in each iteration of the sequence, a painting is being sacrificed, a primal event that is palpable when the “viewer” or “reader” stands before one of Fosdick’s vibrant and intersectional canvases.

A quilting gesture is also present in Fosdick’s installation work, in which he engages a variety of natural and artificial technologies — plywood, shirtsleeves, acrylic, metals, paint — to construct room-sized, unruly “content” of various kinds.  In Art Lab 2010, Fosdick is constructing an entity that combines both paleolithic and futuristic frames or prosthetics.  How do you build a body?  In generating a flux of creative and destructive possibilities for this “body,” its architecture and biology, Fosdick seems to be proposing a site for artistic practice that is both passion — the possibility of site — and oblivion: the constant repurposing of excavated urban-rural matter.  In this sense, Fosdick is doing something completely contemporary, in a way that is in deep conversation with both coastal and mid-country peers.

At the beginning of the twenty-first century, Fosdick is making art that depends upon the earth: that is literally evolutionary in its production of something living from what is non-living, and vice versa.  In his chaotic, yet intensely attentive and fractal patterning of not just the “painting,” or the “space,” but what precedes and follows it, Fosdick is making works of art that are completely, and wildly, real.  They are real because they don’t look away from what the body is, or what it wants to become: or from the emotion, intuition, or rigorous intelligence required to: begin.

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