Embellish4art Enterprises Debora Alanna Selected Work For Web 1

Embellish4art Enterprises
The Art Practice of
Debora Alanna
Selected work

Lightworks
1989 – Gallery Too, Vancouver, BC
Cold rolled steel, Poly balls, Underlay
Grounding of vision, such as that referred to by Edwin Abbot in his novella, Flatland, written in 1884:
“But now, drawing back to the edge of the table, gradually lower your eye ..., and you will find the penny becoming more and more oval to your view, and at last when you have placed your eye exactly on the edge of the table... the penny will then have ceased to appear oval at all, and will have become, so far as you can see, a straight line.”

Lightworks - Detail
The straight line referred to by Abbot succinctly describes the visual illusion that visual perception alludes to.
The abstraction of an eye, of vision is the primary idea in Lightworks.
The eye is grounded, and the form repeated to reiterate the importance of the perception of seeing. The eyes are interrupted by the bisection of the curved formation over the ‘eyeball’.
This distortion to sightedness is a response to the vision of the artist being questioned; assertion of that particular, and maybe peculiar vision is articulated with rhetorical persuasion.
If the eye is the window to the soul, then these windows are open to new insights, different perceptions - closely guarded ones.

Challenge of the Mountains
Challenge of the Mountains was exhibited in the group show, Urbanarium. The theme of all work was ‘Lost Vancouver’.
The premise of this work was that the Rocky mountains created a psychological barrier, segregating thought process, and physical connectivity from eastern Canada.
Urbanarium – ‘Lost Vancouver’ 1987, Vancouver, BC
Expanded mesh aluminum, black grout, aluminum lathe shavings

Light as Material
Burnaby Art Gallery – 1991 Mixed Media, including: cement, styrene, glass, neon, florescent lights, incandescent lights, poly balls, grout

Light as Material - continued
Each work of this show was based on a poem called ‘Hundred Headless Woman’ by Max Ernst.
The incorporation of light into each work moved illumination from outside the work to integrate it within the sculpture.

Level 11 Project – Centre for Image and Sound Research 1992-1996
As a board member for the Centre for Image and Sound Research, opportunity to explore 3D drawing and digitizing was available through the Magic Lab at the University of British Columbia and other venues.

Digital Investigations: Differential Space
Teck Gallery, Simon Fraser University, 1995
Digitized (3D) Image of Sculpture
Sculpture was made from sea stones in Monterey, California.
Digitization of work (3D laser scan) was made at Cyberware, in Monterey.
Wireframe image was produced at the Vancouver Film School.

Banyan Tree - 1996
This work was made in plaster, prior to knowing that a trip to India was eminent.
This is the beginning of many plaster works, where shape and form describe interior spaces.

Space Between - 1996
This plaster work describes the interconnectivity experienced between people.
The strands felt from the solar plexus, and some can see are articulated in this work.

Duplicity – View 1

Duplicity – Detail
This is a conversation between to sets of energy.
This work describes a struggle, an assertion, a restitution, a restoration of sense of self...

Open TrajectoryPlaster – Trois Riviers, Quebec
A series of 5 works, this sculpture has no top or bottom.
The object of the work is to describe trajectory or path, which is not a means to a destination, but the arcing and curvature of a personal journey.

Open Trajectory - Continued

Catharsis
This work was prefaced with these thoughts:
“My sensibilities are founded in the unconcealed world that has dimensions to be discovered. Disparate thoughts can suggest possibilities I love to explore.
I am a conceptual thinker; multidimensionality, space and time are used in the realm of my sculptural practice. Conventional thoughts about material use are continually challenged in my work. I am dedicated to sculpture”.
Vallauris, France 2007

3D Scanning - Preparation
The sculpture is painted grey to facilitate the scanning process, and positioned to readily be read by the laser.

3D Digitizing - Preparation
Here, you can see dots that need to be placed on the sculpture, prior to digitizing to enable ‘matching’ of views that are scanned.
The work sits on a rotating pedestal, which can be moved through the software as each scan is done.

3D Digitizing – Raw Scan
This is a ‘raw’ scan of the work, as it appears on the computer screen.
The black ‘holes’ will be subsequently read as the sculpture is turned in other directions.

3D Digitizing – Raw Scan
Again, here is a ‘raw’ scan, showing one view of a digitized sculpture.
The final scan will be saved as a digital file, and sent to a company that produces a polymer resin mould from the file...
OR...

Canal – Ebb and Flow26 October – 21 November 2007AssociazioneCulturale Spiazzi, Venice, Italy

This work is about a concept of passage, and the oscillation between waning energy and fluidity in uninterrupted movement of conscious and unconscious thought.
Inspired by the wake from the vapporetti, and gondolas on the canals of Venice, the movement of the boats breaking the water's stillness, unrelenting, moving forward distorting surfaces; the water remains unchallenged. The canal holds all surface warps and entwining penetrations, and remains an unaffected system, a way to and from somewhere.
Coming or going, the surface is thrust into undulating forms.

Canal – Ebb and Flow26 October – 21 November 2007AssociazioneCulturale Spiazzi, Venice, Italy

CodaA.I.R. VallaurisNovember-December 2007
CODA is a reflection, a codicil. Reassessment of materiality, of sculptural practice, of abstraction and figuration... CODA was a necessity. This statement brought me to a new thought process.

CodaA.I.R. VallaurisNovember-December 2007
Working with blocks of cement expanded with pumice, carving again seemed to be a departure for me, when it really was going back to my working roots.
Carving was my first love.

CONGREGATION: State Museum of Arts ~ Almaty, Kazakhstan2 October – 7 November 2008 Before and After Dressing Congregation

Installation of Congregation
SELF/
Lover
SAGE/
Magician

Els Colors Del FocDavis Museum - 2009

“Book about Death”MUBE ~ Museu Brasil EsculturaAv. Europa, 218São Paulo - Brasil

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Embellish4art Enterprises Debora Alanna Selected Work For Web 1

by Embellish4art Enterprises on Feb 28, 2010

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Embellish4art Enterprises Debora Alanna Selected Work For Web 1 — Presentation Transcript