http://www.JohnToth.net

Intermedia Art  Sculpture   Digital Art  Inner Eye  Painting

JOHN TOTH

HPSCHD

     In another  show at  The Albright-Knox Art Gallery, Buffalo, N.Y.,  I created a fabric sculpture installations in collaboration with   John Cage and LeJaren Hiller's  HPSCHD, with 40 slide projectors, 16 film projectors and 6 harpsichords.

John Cage / HPSCHD 2a

HPSCHD

Albright-Knox Art Gallery
Collaboration with John Cage and LeJaren Hiller
8 fabric units, 18' x 18' x 9'

HPSCHD4a.jpg

HPSCHD

Collaboration with John Cage and LeJaren Hiller
fabric installtion with 40 slide projectors
and 16- 16mm film projectors

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INNER EYE
ART ARCHITECTURE ARTISTS DANCE
FORUM INSTALLATION
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John Toth Ars Bellum all images copyright 2002 John Toth

 

http://www.JohnToth.net

Intermedia Art  Sculpture   Digital Art  Inner Eye  Painting

 

Fabric Is A Structure For Behavior 

    Perhaps the earliest memories we have of fabric are from the embryonic membrane that first served as our protective shelter.  And immediately from the womb we were dressed in furs, blankets and clothes.

      Later, as a child, I crawled under the quilting frame of my grandmother’s Slavic sewing circle.  My back to the damp basement floor, I watched, under the quilting frame, as needles poked through the tightly stretched fabric, stitching remnants from our worn out shirts into brightly colored geometric patterns.  Sitting around the perimeter, the husbands occasionally rose to readjust the clamps holding the quilt to the frame, testing the tension, aware of the surface.  The lights above lit the fabric, coloring the shapes, as I watched below the patterns grew.

      I played under  fabric landscapes that covered furniture in storage, in the scary part of the attic. Within the quiet moments of hide-and-seek, lying under the fabric protection, I discovered a place that gave refuge and a structure for visual fantasy.

        In later years, I camped in dark green resin soaked cotton canvas tents and watched shadowy trees and blistering light bend on sharp angles across the woven  textured surface that promised, during rain, not to drip unless I touched it.

       As an artist I use fabric to mingle the mystery of materials from  brightly colored nylon and synthetic grids to metallic meshes and translucent Mylar’s, with light, film and projected video


defining links:

Installation Art

Unlike traditional art works, installation art has no autonomous existence. It is usually created at the
exhibition site, and its essence is spectator participation. Installation art originated as a radical art
form presented only at alternative art spaces; its assimilation into mainstream museums and galleries
is a relatively recent phenomenon. The move of installation art from the margin to the center of the
art world has had far-reaching effects on the works created and on museum practice.

From Margin to Center: The Spaces of Installation Art
Author:Julie Reiss Publisher:MIT Press

Modern Dance