The concept for “Frames of References of Frames” is to create an experimental, artificial space between two artists who only know each other through their work. Within this space, the two use a restricted form of communication and see if a shared language develops. The concept mirrors the printmaking process, where the etched plate is put through an unobservable space of the press, after which an image emerges to be revealed.

For the project, both artists develop prints, concurrently and independently, that are related through a system of references and procedures that form an abstract set of codes similar to the established and unquestioned number sets and operations in the sciences. The artists’ references and procedures, agreed to at the start of the project, form the guiding formulae, or surveying tools, and are the only tangible elements of communication between them.

Each artist develops a print based on a brief instruction from the other and taking into consideration the agreed-upon format and basic parameters, in this case, the size and that it be black and white. At the same time, both artists begin to investigate and develop a frame in the broadest sense—that is, treatment of the two- or three-dimensional space around the print—to house the print of the other artist. After both artists have made their print and a frame for the other’s print, the prints are exchanged and assembled with the frames. The artists then repeat the process, issuing a set of follow-on instructions. After a number of cycles, the ongoing project is considered closed at a point of mutual agreement. All the components of the project are then revealed to each artist.

The exhibition is accompanied by a photographic diary and brief notes by the artists recording how their expectations and perceptions evolved during the process.

CATALOG:
“FRAMES OF REFERENCES OF FRAMES”
AND “TO ILLUSTRATE THE SPACE BETWEEN OUR WORKS”
Notes on Two Collaborative Projects

download catalog (pdf)

Instruction 1

FF => LL
Avoids any centre and investigates the edge of the plate and what happens next to it. Size 25 x 25 cm, black and white
( 05.05.2010 )

LL => FF
Emphasis on vertical, should be apparent from a distance, as well as from close. Size 25 x 25cm, black and white

Instruction 2

FF => LL
Perforation and corrosion approaches the plate from all sides. The plates tries to hold out. Does it lose? Traces of a half fought battle.
( 18.08.2010 )

LL => FF
Print 1 emphasized lines, make print 2 emphasize volume, form.
( 22.07.2010 )

Instruction 3

FF => LL
Defect of instruction 1 through 2. Uncontrolled corrosion leading to reconstellation. Entry of signs on the reverse of the print.
( 15.01.2011 )

LL => FF
Subtly -> Right, regular, orthogonal.
↓
( Impose Order )
( 31.01.2011 )

Instruction 4

FF => LL
Introduce curvature + movement + growth.
( 23.02.2011 )

LL => FF
A controlled explosion of line that creates form.
( 23.02.2011 )

The project will be on view April 5 - 10, 2011 at the Godine Family Gallery

Godine Family Gallery
MassArt
621 Huntington Avenue
Boston, MA 02115
Entrance on Tetlow Street

Hours: open daily 8am - 11pm

Opening Reception: Tuesday April 5, 2011 6 - 8pm

The project is part of the TransCultural Exchange's global project Here, There and Everywhere: The Art of Collaboration.

Cycles 1 and 2 (installed at the Godine Gallery)

from left: On Vertical (from instruction 1), Edges (from instruction 1), Block Form (from instruction 2), Battle (from instruction 2)

Cycle 3

Corrosion (from instruction 3), Right, Regular (from instruction 3)

Cycle 4

Exploded Form (from instruction 4), Growth (from instruction 4)

Florian Foerster, Berlin, Germany
www.florianfoerster.com

Florian Foerster studied printmaking at Manchester Metropolitan University and structural engineering at Manchester University, United Kingdom. Among his solo shows are exhibitions at the Goethe Institut (Manchester), Tib Lane Gallery (Manchester), Berliner Philharmonie (Berlin), Saloon Su De CouCou (Berlin), and Gravura Brasileira (Sao Paulo). He was the sixth bridgeguard at the Bridgeguard Residency in Sturovo, Slovakia, and has worked extensively in Sao Paulo, including at the print workshop at the Museu Lasar Segall.

Foerster has won several awards at Manchester Academy exhibitions, and his work is held in private collections in Brazil, Germany, and the United Kingdom. In addition to his career as an artist, he works as a structural engineer for buildings and bridges.

Lara Loutrel, Boston, Massachusetts
www.laraloutrel.com

Lara Loutrel holds a BFA in printmaking from the Massachusetts College of Art. Her solo shows include exhibitions at the South End Branch Library (Boston) and the Sheetz Gallery (Penn State, Altoona). Her works have appeared in numerous group shows, among them at the Khaki Gallery (Boston), Carroll and Sons (Boston), MPG Contemporary (Boston), La Galería at Villa Victoria Center for the Arts (Boston), Mills Gallery (Boston), Gallery Aferro (New Jersey), Foundry Art Centre (Missouri), Hunterdon Museum of Art (New Jersey), Axis Gallery (California), and many others across the United States.

Loutrel was awarded a Johnson & Johnson Purchase Prize (Hunterdon Museum of Art), a Gallery Award (MPG Contemporary), a Group 4 Award (Foundry Art Centre, Missouri), and a Juror’s Selection Honorable Mention in Printmaking (30th Bradley International Print and Drawing Exhibition, Illinois). Her work is included in the Boston Public Library’s print collection.