Statement of Interest Final 5

STATEMENT OF INTEREST
ArtXArchitecture
Pat Potter Director and Conceptual Designer
Joshua Benefield Graphic Designer
Allison McElroy Artist
Ed Deyo Artist

6 Ruby Ridge Anniston, AL 36207 256.237.2658
ArtXArchitecture
ArtXArchitecture is a small team of artists and designers based
in a treehouse studio in Anniston, Alabama. Our location
places us at one with the environment. We work with materials
and concepts that will help us further enhance our knowledge
of the world and our place in it.
Patricia Boinest Potter (Pat), an artist with a Masters in
European Architectural Studies, has for almost twenty years
employed younger artists and interns to work in her studio. We
are a collaborative team and work with a collaborate spirit.
Patterns of Growth: A Three-Dimensional Map/
A Wayfaring System
Your search for a “A Comprehensive Wayfaring System” is
exciting to me and to my team as an extension of “Patterns
of Place”: a three-dimensional mapping project, the first part
of which was exhibited at The Halsey Institute, College of
Charleston, Charleston, SC, in January, 2015. http://halsey.cofc.
edu/exhibitions/patricia-boinest-potter/
For a long time I have been interested in the difference
between map and territory. At first I thought it was like an
optical illusion, then that the only difference was distance. But
now I see that time alters everything.
“Time is notoriously difficult to translate into three dimensions
we see when looking at sculpture, but Potter’s play between
abstraction and place enables her to maintain a sense of natural
form that provides the fissures into which time can be
introduced. Branching pathways and streams, journeys outward
and inward, lived experience and immersion in place at different
times of one’s life, light and shadow translated into materials
that are themselves ethereal, and appear to be in the process of
changing —All these can shake up the viewer’s sense of space,
and therefore of time.”
Lucy Lippard
Patterns of Place
Instead of a tree which has a starting point and from there
branches out in a predictable path, I use the concept of 3D
mapping to chart the movement and patterns of the Rhizome.
If a part of the trunk is cut from the tree the whole tree
collapses. If a portion is cut from the rhizome it continues to
grow from another point.
A three-dimensional Map/Wayfaring system: “Magically”
creating a new way of seeing an “Enlightened Birmingham”
and a multi-dimensional world.
Approach to Model Phase
1/2"=1' model
4'× 8' abstracted rendering on heavy rollable paper.
A small section of the project built to full scale
Materials
Steel: exterior grade or Corten steel—a direct connection to
Birmingham’s past
Etched aluminum
Glass: a lens to the future
Compass interperted in different material and dimension
would be found at each location
Organic material: bamboo, fig vine or other
Structure
A steel Rhizomatic root-like structure would be site-
specifically designed to morph and make connections to each
area’s distinctive characteristics while mapping points of inter-
est. Glass and steel triangles would be cut into an
expanding fractal structure, sometimes etched or laser cut with
map, information or poem.
Although made of the same materials there would be smaller
maps, above and below that would be read in different ways.
The glass above might look, to some, like birds, to some like
books and to others like butterflies.
Concept
Rhizome is a botanical term used to describe an underground
stem that sends out both roots and shoots from nodes along its
length. Ginger roots, lilies, bamboo and wisteria grow in such
a pattern. In understanding the concept of rhizome, the last set
of principles is Cartography. Rhizome is like a map. You can
enter at any specific point but you cannot trace it because it has
no end.
I was lucky enough to be in my dining room one day when
my grandson, Morgan, then age seven, came in saying he was
giving his friend Lauren, then three, “the art tour”. The abstract
painting in the dining room is a wall size, one page book. He
asked her, “What do you see?”She responded quickly, a stair,
a sun, then after a moment, a boat? Morgan then went over to
the side, turned on a more intense light, and motioning for her
to come over, said, “The best part is when you see what’s not
there.”
Children have eyes for art and for art making. Space One
Eleven on Second Ave North has a program in the summer
which might add to our experience at the gateway intersection,
a link to the historic art district, as well as a link to the future.
Children’s work would add an element that could be changed
with passing time.
ArtXArchitecture

Our proposal is to develop an installation which would grow
from the intersection of 280/31 and 2nd Ave North at 26th St.
and expand, marking sites of interest throughout the city and
suburbs. Each site would be marked by a compass rose which
could also be used as a logo. Each site’s directional alignments
would be marked and easily found on Google maps.
Alignments could also be made to Birmingham, England, the
town for which Birmingham was named.
When visiting the site at 16th St. and 2nd Ave. N. we were
surprised at the variety of sounds beneath the highways. The
steady beat of the cars above, sounds of cars below, and
movement and whistles of trains, It sounded like a contempo-
rary city sound performance.We thought it would be nice to
listen to the recurring sounds, then at intervals add the tone
of an iron bell or a chime. On a windy day the winds might
participate. While underneath the highways we noticed space
between and on each side of the highways where Rhizomatic
shoots might reach up on both sides of the highway forming
a cluster of vertical sprouts to be read as a gateway or open
entrance to the city. Looking down to the circular green space
at the intersection of 2nd Ave. N and 26th St. motorists would
also see a Rhizomatic Bridge and Park with a three
dimensional compass rose inviting them down to explore the
area of the Historic Arts District.
The Rhizomatic architectural form would begin beneath the
highways turning this area into a park and also into much
needed lighted parking for the area. Like roots growing from
underneath the ground, it would take the form of a pedestrian
bridge over 26th St. bringing us into a three dimensional
compass rose. The materials of the compass rose, at this
location would be steel and glass, a wayfaring device looking
into the past and into the future.
Maps, texts and resting benches might be worked into
Rhizomatic roots locating points of interest, first in the
Historic Arts District and then at other sites throughout the
city and suburbs. Recognition of the clusters of steel and glass
shoots and sprouts, when seen from a distance, would help
people feel comfortable finding their way through the city.
Forms within each specific location would seem to burst forth
as an epiphany announcing the individuality of each area in
an artistic way. Not only would the structural steel forms be
anticipating our visit but the etched surfaces of the glass might
lead to anticipation and wonder. Text, laser cut into steel or
etched on glass might add another element, in sunlight or
lighted at night they would reveal, in shadow, a poem or map
marking places of interest. Lighting at each location would
be an integral element. In three dimensional-mapping the
perpendicular is recognized as “a way”—connecting above and
below. Reflective surfaces might add special illusions such as
“the angle of disappearance”.
Our focus is on seeing patterns of the very, very small and
how they are similar or move in similar ways to the very large.
Movement at different frequencies creates all change, whether
growth, deterioration or destruction.
The tip of a root searching for nutrients and
the tip of a fern searching for light
follow the same patterns of movement.
Seeing how the visible is motivated by
the invisible (the way the wind moves the
leaves) and mapping these movements is
central to our work.
There are many layers of frequency
inside of the wind
Out to the farthest star.
Time measured in light years
is ours to imagine.
Time measured in moments is ours
to Move through.
ArtXArchitecture

Concept
ArtXArchitecture

Art X Architecture Studio
ArtXArchitecture

Pat Potter
patriciaboinestpotter.com
http://halsey.cofc.edu/exhibitions/patricia-boinest-potter/
Education
MESA(Masters European Studies in Architecture) 1995-97
a nomadic program based in London, Paris and Helsinki
MA Architecture , University of Art and Design Helsinki.
Finland
Atlanta College of Art, Bachelor of Fine Arts, 1987-88
Atlanta, Georgia
Japanese National Treasure-Konbu
Individual Study
Yoshino, Japan, 1983
Rhode Island School of Design
Providence, Rhode Island, 1982
University of Alabama
Birmingham, Alabama, 1978-79
Jacksonville State University
Jacksonville, Alabama, 1976-77
Stephens College
Columbia, Missouri, 1958-59
Professional Experience
“Patterns of Place” The Halsey Institute of Contemporary Art,
Charleston, South Carolina 2015
Anniston Star, permanent installation, 2003-2004
Visiting Assoc. Professor Iowa State University 1999-2000
Visiting Professor Auburn University 2002
Anniston Museum of Natural History,
Anniston, Alabama 1970-86
Exhibit Designer,The Versatile Adapter
An exploration of the subsistence level
adaptation of three African societies,
Anniston Museum Anniston, Alabama, 1979-81
Visual Arts Coordinator, Anniston Museum
Anniston, Alabama, 1976-79
Teaching Staff, Anniston Museum
Artist in Residence, Anniston Museum
Jacksonville State University
Artist in Residence 1971-72
One Person Exhibits
“Skinning the CATTt”
Academie des Beaux-Arts
Paris, France 1997
“Playing Within The Holes”, Lowe Gallery
Atlanta, GA, 1994
“the flow of NOTHINGNESS”, Lowe Gallery
Atlanta, Georgia, 1992
“Inner Sections of Time and Place”, Lowe Gallery
Reviewed in Art in America, January 1991
“Overlays of Memory”, Anniston Museum
Anniston, Alabama, 1986
Exhibit, Installation and catalog.
Reviewed in Atlanta Art Papers,
“Birmingham News”, “Anniston Star”
Birmingham Civic Center
Birmingham, Alabama, 1986
Hunter Museum
Chattanooga, Tennessee, 1981
Anniston Museum
University of Alabama
Huntsville, Alabama
Exhibit and lecture, 1979
Group Exhibitions
Space One-Eleven, Birmingham AL 2007
“ON SHAKY GROUND” National Invitational
494 Gallery, NY,NY. 1995
“WITH THIS BOOK”: Regional Book Art Invitational
Sarah Moody Gallery of Art, Tuscaloosa, Alabama. 1995
“The Book as Art” National Invitational
Edith Lambert Gallery
Santa Fe, New Mexico, 1994
“Fragile Power: Explorations of Memory”
Collection of Daniel Schacter
Newton Art Center, Newton, Massachusets, 1993
Lowe Gallery Atlanta, Georgia, 1993
ArtXArchitecture

Lowe Gallery
Atlanta College of Art Gallery, 1988
Mississippi University for Women, 1985
Birmingham Southern College, 1985
SECAC Award Exhibition
Richmond, Virginia, 1984
Southern Exposure - A Southeastern Invitational
New Orleans, Louisiana, 1980
Women Artists Invitational Traveling Exhibition, 1979
Seven Natures, Anniston Museum
Art and the Alabama Woman Invitational, 1979
Fine Arts Museum of the South
Mobile, Alabama, 1977
Awards
One of twenty artists invited to participate in the “Festival
Verde 2000”, Timisora Romania, May 1999
Finalist Taipei International Architectural Competition, Dia-
logue Magazine, March 1998
One of five artists working in the Southeast nominated by
Art in America for an AVA (Awards in the Visual Arts) na-
tional award, 1991
Finalist, Alabama Veterans Memorial Design Competition,
1990
Southeastern College Art Association Grant Recipient, 1984
First Place Members Show, Birmingham Museum of Art, Bir-
mingham, Alabama, 1975
Performance
Trace new media design conference, Nottingham Univeryy,
UK 2000 Performance/lecture
Alterities Conference Paris, France 1999 Performance/lecture
Road To Mecca, Set, Anniston Community Theater
Language of Other Planets, Metal Sculpture,
Performance in collaboration with Ariel Weymouth-Payne
Ann Arbor, Michigan, 1989, Michigan State Arts Council
Grant Reflected Synchrony, Fabric Sculpture,
Performance in collaboration with Ariel Weymouth-Payne
Anniston Museum, Anniston, Alabama, 1981
Glass Menagerie, Set, Anniston Community Theater
Joshua Benefield
joshuabenefield.com
Joshua is a graphic designer from Heflin, Alabama.
He previously served as a Sergeant in the US Army, earning a
Combat Infantryman Badge and a Purple Heart.
After being medically retired from the Army, Joshua
continuted his education as a designer at Jacksonville State
University, earning a Bachelor of Fine Arts degree, in addition
to a Master of Fine Arts degree in Visual Communication
Design.
Allison McElroy
allisonmcelroy.com
Allison McElroy is a mixed media artist based out of Heflin,
Alabama whose artwork has been shown in several national
and international exhibitions. Her work has been chosen by
jurors such as the Associate Curator of the Museum of Modern
Art, Cora Rosevear, and Assistant Director of Gallery nine5,
Amanda Uride in New York, New York.
Allison has completed artists residencies at The Vermont
Studio Center where she received a Fellowship for Artists and
Writers and an international graduate school residency in La-
coste, France where her focus of study was On-Site Installation.
In Lacoste she was very fortunate to study under visiting artist
Jesuit Friedhelm Mennekes.
Allison completed her graduate studies in Painting from the
Savannah College of Art and Design and is currently an Asso-
ciate Professor of Painting and Drawing at Jacksonville State
University in Jacksonville, Alabama.
Ed Deyo
artdeyo.com
Ed was born in Anniston, Alabama and graduated with a
Bachelor of Fine Arts degree from Auburn University and then
studied in Cortona, Italy, receiving special commendations
for overall achievements and winning a sculpture competition
there.
Moving from Atlanta to Charlotte in 1986, Ed opened his own
business in Charlotte,NC- ColorWorks in 1989. Since then
he has received numerous national and international awards
and built a substantial following. He recently relocated back to
Anniston, Alabama.
ArtXArchitecture

Pat Potter
01_Potter.jpg
Möbius Migrations
Patterns of Place
6 three-dimensional map tables
Mixed medium in steel and glass box
Size 2' × '2' × 4'
2012-2014
02_Potter.jpg
Mysterious Angles-Indian Effigies
Patterns of Place
Size 2' × 2' × 4'
2012-2014
03_Potter.jpg
ColdwaterMountain/ColdwaterSprings
Patterns of Place
Size 2' × 2' × 4'
2012-2014
03_Potter.jpg
ColdwaterMountain/ColdwaterSprings
Patterns of Place
Size 2' × 2' × 4'
2012-2014
04_Potter.jpg
Little River Canyon
Patterns of Place
Size 2' × 2' × 4'
2012-2014
05_Potter.jpg
Detail Möbius Migrations
Patterns of Place
Size 2' × 2' × 4'
2012-2014
06_Potter.jpg
Detail Booger Hollow a microcosm
Patterns of Place
Size 2' × 2' × 4'
2012-2014
07_Potter.jpg
Globe
Found and recycled materials renewed into sculptural map
Mixed medium
Size 12" × 12" × 14"
2010
08_Potter.jpg
202 Steps
Installation in Lacoste, France
Ochre Mined From Roussillon
Wayfinding —path from apartment to studio
Size 400'
2003
09_Potter.jpg
Keith Maddox
Safer4Cyclists.org
Safety & Awareness Campaign
Digital Composite & Print
Size 20" × 40"
2015
10_Potter.jpg
Safer4Cyclists
Safer4Cyclists.org
Safety & Awareness Campaign
Digital Composite & Print
Size 20" × 40"
2015
ArtXArchitecture

ArtXArchitecture
6 Ruby Ridge
Anniston, AL 36207
(256)237-2658

Statement of Interest Final 5

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