![]() Thinking it over, I realized that I was too invested in my relationship to the subject and quality of the likeness to make real change. Why not let the “fashion” go beyond skin deep? The figures in that series were almost like mannequins, modeling imagined “fashion” that could, theoretically, be worn. JM: While I was happy with this series, I ended up feeling like I had not pushed the relationship between the figures and the fashion far enough. OPP: In your most recent work, the busts look like modified neoclassical sculptures. Anemone, The Oyster, and La Balena are all modeled on students from that class.Īt the time, I was interested in contemporary fashion’s relationship to sculpture and imagining how busts-which always reflect the fashion of their time-might look in fashions inspired by artists like Alexander McQueen, Philip Treacy, or John Galliano.Īnemone (2017) Fiberglass reinforced plaster, zip ties, paint. In the process of helping them, I spent a lot of time staring at their faces in the unique way you do when you are creating a portrait. Around 2016, I had a class of upper level students create self portraits. I assign projects I am interested in, and inevitably end up wanting to participate in the process. Jed Morfit: I am a professor of sculpture at Stockton University, and my teaching practice has always had a big impact on my personal work. Older works- Vane (Natal Plums)(2017) or The Oyster (2017), for example-appear to be based on real living people. OtherPeoplesPixels: A recurring form in your work is the bust. His work will be included in Paste and Cut: Contemporary Sculpture in Plaster, which opens Augat the Lauren Rogers Museum of Art in Laurel, Mississippi. You can virtually view his 2020 solo exhibition Adapting to Change at Paradigm Gallery here. His numerous awards include the Louise Kahn Award for Sculpture (2006) and the Dexter Jones Award from the National Sculpture Society (20). He was a Fellow at the Center For Emerging Visual Artists from 2007-2009 and received a New Jersey Council On the Arts Fellowship in 2009. Jed received his MFA in Sculpture from the Rhode Island School of Design. Gills: Grow a Pair ) and in culture (e.g. The titles of recent works hint at the relationship between evolution in nature (e.g. With an extensive tool belt that ranges from age-old mold-making techniques to 3D-printing and laser-cutting, he explores the changing expressions of fashion alongside the universal impulse to adorn oneself. JED MORFIT deconstructs and reconstructs-sometimes literally-classical sculptural forms like the bust and the bas relief. La Balena (2017) Fiberglass reinforced plaster, wicker, paint. His work commonly addresses the plight of the working class, hopelessness in the face of destruction, and humanistic experiences. Spitzack is known for his bold, energetic, Mokuhanga-inspired woodblock prints of the human figure, animals, landscapes, urban scenes, and more. His work has been shown extensively in the Pacific Northwest and internationally. As a Pacific Northwest-based artist, he teaches woodblock printmaking at Pratt Fine Arts Center and also works as a carpenter, a process that reflects his interest in the physicality of woodblock prints and his ability to find inspiration anywhere. He received a BFA with a focus in Print Arts and Drawing from Cornish College of the Arts and has participated in residencies at Rockland Woods and Mokuhanga Project space. Though a more complicated printing technique, this class will take you through a quick crash course covering all the major points, and allow you to pull a few prints yourself.Ĭharles Spitzack (American, Pacific Northwest) was born in 1987 in Minnesota and raised in the Twin Cities. Ever wondered about the beautiful Japanese prints you find all over the world? This course is designed to show you the basics of Moku Hanga (Japanese woodblock).
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