Like many other Seattle residents, I was first introduced to the work of fabric and mixed media artist Mandy Greer at the central branch of the Seattle Public Library. I remember liking her permanent installation, Library Unbound, and making a mental note to check out more of her stuff (which, of course, I completely forgot to do because I didn't write it down), but it wasn't until Greer's 2011 solo show, Honey And Lightening, at Roq La Rue Gallery, that I was moved from appreciation to awe.


mandy greer Honey And Lightening, 2011. Roq La Rue Gallery, Seattle
Artists often describe their ideas as beginning with a seed, but with Greer the analogy is more literal: her work gives the impression of growth, and her compositions wind sinuously across both body and landscape as fractalized coral reefs that gracefully devour everything they come in contact with. Her painstaking craftsmanship involves the weaving and layering of such diverse materials as buttons, pom poms, sequins, beads, plastic trinkets, glitter, mirrors, and family members' hair. She uses "cheap materials" in such absurdly detailed, utterly chaotic excess that they they take on an aura of luminous richness. Her latest subjects involve strong, folkloric figures festooned in elaborate headdresses. They move gracefully through kaleidoscope forests and fields of trailing grass. One gets the sense of being enveloped by an epic fairy tale, but it's one that lacks a definitive plot. Greer draws from a wide spectrum of folk tales, finding inspiration in stories from Greek, Roman and Chinese cultures. "I stumble upon mythology that speaks to the struggle," she explains. There is an inherent delicacy in textile work – one that Greer both embraces and contradicts. In her works, haunting vignettes of half-told stories are littered with crocheted entrails and vines of thick, cloying mud that evoke a sense of elegant foreboding. They deal with a sense of vague narrative that, through abstraction, finds archetype; her installations whisper of timelessness – of a buried, invisible power that runs below the surface of the world that we cavalierly inhabit. At the time of our interview, Greer was still in the process of settling into her home studio, and walking into her workspace was like entering the magical dress up box every child dreams of having. Her studio is filled with giant, color-sorted plastic bins of fascinatingly patterned and textured scraps of fabric. Half of her studio is devoted to an exposed beamed staging ground for installations, and there are so many odds and ends lying around that, for someone with an attention span as short as mine, it's difficult to find a place for the eye to rest. INTERVIEW CONTINUES BELOW mandy greermandy greerHoney And Lightening, 2011. Roq La Rue Gallery, Seattle

Kvitnu -- high blood pressure music label, started in 2006, based in Kyiv, Ukraine. Kvitnu's International roster includes such artists as Zavoloka, Kotra, Sturqen, Dunaewsky69, v4w.enko and Plaster. Along with their releases, Kvitnu acts as an organizing structure, making international festivals and concerts. Kvitnu is created and operated by Kotra, and all visual appearances of label are designed and supervised by Zavoloka. In April 2011 Kvitnu became a winner in three nominations of the Qwartz Electronic Music Awards 7 in Paris -- as The Best Label, The Best Artist (Sturqen) and The Best Release in Discovery Category (Sturqen's Peste). And Kvitnu artist v4w.enko was nominated in the Discovery category with his CD release, Harmonic Ratio. This mixtape is more or less random selection of tracks from different Kvitnu releases to present you with the variety of Kvitnu's sound. Curated by Dmytro Fedorenko, Owner and Founder of Kvitnu

 

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