Basic Sculpture

“Light Manipulation Orbs”

Casey Wright

65”x 66”

“Fear”

Casey Wright

“Negative Space Chair”

Pencil rod, plywood, acrylic paint, wood stain

An Interview with CIDNEY OLENIACZ by Casey Wright

“Individuated” (2018)

Statement:

Oleniacz’s piece is about male and female equalities, coming together and becoming a whole; balance between genders.

What did you do?

Oleniacz cut XL black thrift pants and knitted pieces of black yarn together. She sewed on the knitted portions to the pants using purple string to make a banner of some sort. Next, she welded pencil rod together to make a rectangular frame for the piece. 

Influences?

Oleniacz was most inspired by the artist, Juetta Koether, who hung her canvas paintings inside glass walls. Oleniacz thought it was interesting how different the two sides looked. 

Why are you so interested in the “back” of a piece?

My piece is about male femininity, and the opposition to it in our society. It was inspired by gender reveal parties, hence the blue flowers, but includes feminine and natural objects like flowers and (male) monarch) butterflies. It is highlighting that gender reveal parties actually only reveal the biological sex of the child, not the gender which is to be determined by the child itself. The welded iron stand was inspired by hangman as well as bird feeder stands. It serves as a frame for the piece allowing the “chandelier” to rest at an ideal viewing point. 

Description: The piece has green twine vines coming down that contain paper monarch butterflies, green paper leaves, and varying shades of blue fabric flowers. Much of the structure of the piece was created with metal wire. It is hanging with microfilament from a welded bird-feeder/hangman-like pencil rod hanger. 

“Untitled” (2018)

Casey Wright

Pencil rod, twine, acrylic paint, muslin paper, glue, wire, fabric, and fabric dye. 

Casey Wright

“Untitled”

20″ x 5″ x 5″

Casey Wright

“Untitled”

12” x 12” x 12”

Casey Wright

“Untitled”

Plywood, spray paint, wire, glitter, rocks, clear gloss spray

-Joanna Mozdzen: Clay sculpted fruit with happy baby faces.

- Lei Xue: Paints porecelian cans by hand in the style

1.) “Otherworldly: Optical delusions and small realities” (2011) Installation

2.) “One Green Thing” (2012)

3.) “After/Omit the taking in my posture seeing becomes the way of owning” (2013) Installation 

4.) “Palo Alto Art Center Installation” (Date?)

5.) “Real, natural, and unsustainable” (2010) Installation

6.) “Giving it back” (2010) Installation

7.) “Torn from the making of knowing’s vista” (2010)

8.) “I know your fences are pools passing through meaning” (2012)

9.) “Capture 4″ (2009)

10.) “There’s no place without foam” (2009)

Born in the state of Wisconsin in 1974, “Gregory Euclide is an artist and teacher living in the Minnesota River Valley. His work has been featured in The Nature of Nature at the Minneapolis Institute of Arts (2014-2015), Badlands: New Horizons in Landscape at MASS MoCA (2008-2009), Otherworldly at the Museum of Arts and Design in New York (2011), Small Worlds at the Toledo Museum of Art in Ohio (2011), and was presented as a solo exhibitionNature Out There, at the Nevada Museum of Art (2012). Euclide’s work has been reviewed and featured in publications such as: Art News, Sculpture Magazine, Art Ltd Magazine, Hi Fructose Magazine and Juxtapoz Magazine. His work is also featured on the 2012 Grammy Award winning album covers of the musical group Bon Iver and on the cover of McSweeney’s Quarterly Concern #43. Euclide was awarded three Minnesota State Arts Board Artist Initiative Grants through the National Endowment for the Arts, and a Jerome Foundation Residency through the Blacklock Nature Sanctuary. In addition, he was a recipient of the 2011-12 Jerome Foundation Fellowship for Emerging Artists and the 2015-2016 Mcknight Fellowship for Visual Artists. Euclide received his MFA from the Minneapolis College of Art and Design.” (Source)