By Maegan Arthurs
May 23, 2013
Claire Ashley is a Scotland-born, Chicago-based artist who fuses sculpture and painting with a smattering of the absurd. For her latest piece, distant landscapes: peepdyedcrevicehotpinkridge, Ashley has created a series of inflatable sculptures that fill The Icebox Gallery at Crane Arts, transforming the space into a lively and cartoonish environment. Walking around the space, my husband and I decided that the forms reminded us of cloud-watching; the nebulous shapes potentially evoke any number of references. Speaking with Ashley, she confirmed that some of the forms are deliberately naturalistic (horse and cow, for example), while others are intentionally more ambiguous. Even Ashley’s title is meant to be at once both analytical and non-analytical, conveying and inviting any number of possible references.
For Ashley, motherhood is an inspiration
Ashley draws inspiration in part from her role as a mother. In their early iterations, the puffy forms of her sculptures came from Ashley’s protective maternal instincts. Since then, Ashley’s approach has evolved in a way that embraces the energy and silliness of young children. In a personal touch that adds emotional heft to the show, Ashley cuts the forms for each piece from a template of sorts loosely based on the blueprints from her home.
The Happy Collaborationists bring Ashley’s work to life
The dynamic, zany energy of Ashley’s inflatable sculptures is further underscored with their incorporation into a performance by The Happy Collaborationists (“Happy C”), a curatorial collective featuring performance artists Anna Trier and Meredith Weber. Donning two of Ashley’s inflatable sculptures, the pair move and dance around the Gray Space adjoining the gallery to upbeat music.
Ashley’s painting/sculpture hybrids challenge the traditional notion of what defines a painting, an idea Happy C underscore in their performance. Just as a beautifully rendered painting can seem to dance on the canvas, Happy C succeeds in promoting the idea that a painting can literally become a dynamic object while still retaining its beauty as an artistic object.
Jeff Huckleberry explores the challenge of artistic creation through intense yet humorous performance
Jeff Huckleberry’s performance, “8th Rainbow,” follows the performance by Happy C in the Gray Space. Huckleberry, a member of Mobius Artist Group and the artistic director of TOTAL ART, began his performance without introduction; he simply began laying out his various props, which included wooden boards, paint, a belt sander, a box, two cases of beer, and balloons.
What followed from there was a series of actions that, while assaulting the senses in a ridiculous and entertaining manner, seemed also to grapple with the profound challenges artists face when attempting to create their work. This was clearest when Huckleberry filled his pockets with beer bottles and wrestled with an armful of long, wood boards. As he was rolling back and forth through the space, clutching this bulky mass, I empathized with him; Huckleberry seemed to be actualizing the process of wrangling an unformulated creative idea into something tangible and workable – perhaps the most difficult task an artist faces. Huckleberry personified this struggle with humor and whimsy; my husband and I found ourselves grinning constantly during the performance.
The artists create a successful, accessible collaboration
This is not the first time these artists have collaborated and it shows – each piece complemented the other in interesting ways. My husband and I left the gallery that night laughing and chatting excitedly about the show, eager to see more.
It’s wonderful to see art with a jubilant sense of humor that doesn’t shy away from the silly in life.