Zoe Friedman's Nomination | Baker Artist Awards

Zoe Friedman

Nomination
Profile

Alchemy/Chemistry, April 2012

Project Media
About This Project

Report

Overview

Isolated images of nature are printed on paper and assembled to form large geometric landscapes. By photocopying found images, I reference the “infinite archive” that modern technology makes accessible at all times. Through repetition and inversion, extensive patterning reveals the hidden geometries that are always present within organic forms.

Each panel is 8 feet tall by 7 1/2 feet wide. I print each image on regular A4 paper, then cut and assemble by hand. The paper is held in place and attached to wooden panels with nails.

Impermanence and Memory, September, 2012

Project Media
About This Project

Add to Favorites Post a Comment

Report

Overview

Hand-cut paper window hanging, shaved pine cones, pine needles, stones, duck feathers, berries, glass bowl, dead bee, birch bark, lace.
This body of work was created while in residence at the Vermont Studio Center. Besides the hand-cut paper window hanging, all materials were found and collected during my month long stay, then organized into mandala-like arrangements. The patterns changed daily as I moved elements around, finding balance in opposing and fluid forms. At the end, I swept everything up and left it in piles outside.

The Room, January 2012

Project Media
About This Project

Add to Favorites Post a Comment

Report

Overview

Photo copies are cut and inverted to fill my bedroom from floor to ceiling with expansive geometric landscapes and patterns.

Extropy, September 2011

Project Media
About This Project

Add to Favorites Post a Comment

Report

Overview

13 ft x 22 ft
laser-jet prints, staples

This large-scale paper installation is made up of images that were found on the internet, printed out, then cut and reassembled to form an overwhelming geometric landscape. Standing back and viewing the piece all at once, baroque and psychedelic patterns emerge that appear beautiful yet also destabilizing. Up close, the images pixelate and the materials of computer paper and staples reveal themselves for what they are: this is a configured idea of an environment made up of stockpile images that could easily be desktop backgrounds. When placed all together, however, they form an eerie, sublime, and attractive nature that captures the peaceful moment of time that preludes disaster.

Black Paper Lattices, Fall 2011

Project Media
About This Project

Add to Favorites Post a Comment

Report

Overview

Each lattice is one large piece of paper that is hand cut. Patterns push together and create overwhelming ornamental screens. The lattice acts as a decorative barrier between one thing and another, or as a devotional frame for a precious object.

Ink-Jet Prints, Spring 2011

Project Media
About This Project

Add to Favorites Post a Comment

Report

Overview

This particular body of work is all created from stockpile images I have found on the internet, then print out in multiples to form patterns or new landscapes. There is a calming, yet eerie quality to formulating symmetry in nature. It speaks to mechanical engineering, cheap production of materials, and fabricating our natural environment. It is the awe and sublime of what appears to be infinite and uncontrollable.

Sublunary, Spring 2009

Project Media
About This Project

Add to Favorites Post a Comment

Report

Overview

This installation is made up of 13 wall panels, each 8 ft x 3ft. They fit together to form a continuous landscape.
It is meant to be viewed in the dark, only illuminated by a rotating spot light that resembles the moon, a light house, a search light.

The moon hangs framed in the night sky as a distant object of idolization
and beauty. It can remain a pure and distant part of our subconscious,
but as with many proximal ideas, its approach brings destruction. As it
manifests into consciousness, the moon disrupts the terrestrial balance,
and all earthly things react. It simultaneously entices and threatens.
My work presents a mythical account of the creation of an interesting
world. It is an account of arrested feelings and the inhibitors of prosperity,
of self-defense and suffocating comfort, of how fixed cycles become an
unknown future. The generative thrust of creation, which is life, disrupts
the order of life. In our quest for pleasure, we have sown ecological
disarray. Cities choke on their own industry. The unthinking pressure of
our genes obliterates whole tribes. Lovers suffer discord in the act of
loving. We disrupt ourselves always. Often life seems to fall off balance,
but is this imbalance something we merely perceive, or do we create it?
Cycles can make us feel helpless, yet also comforted. The force of
change is also the impetus for evolution and growth. We are an
accumulation of every crisis that befell our ancestors. All sublunary
creatures exist precariously between the bright constellations of the past
and the looming mass of the future. We are part of the changing world.

Cabin In and Out, 2010

Project Media
About This Project

Add to Favorites Post a Comment

Report

Overview

(Inside) Watercolor paintings, found frames.
(Outside) Video projections, sticks, string.
Exploring interior and exterior spaces. Our relationship to the natural world has become more like a relationship to a mythical world.
Various works

Dainty Art Collective, 2006

Project Media
About This Project

Add to Favorites Post a Comment

Report

Overview

The Dainty Art Collective was created for the purpose of collaboration, discourse and support with other artists and friends. Installation No. 1 is very much a conceptual extension of those principles; they helped to determine the allegorical medium of the show, which is the idea and image of combustion, explosion and flame. The installation consisted of four separate video projections, each eighty minutes long, that were designed to sync in and out with each other.