Title : Alex Boeschendstein show opens at SCC Gallery - reception Nov 9
link : Alex Boeschendstein show opens at SCC Gallery - reception Nov 9
Alex Boeschendstein show opens at SCC Gallery - reception Nov 9
Shoreline Community College Art Gallery presents...
FIELDS OF IRISARRI
by Alex Boeschendstein
November 6 - December 15, 2017
Meet the Artist!
RECEPTION: November 9th, 4 - 7 pm
Shoreline Community College, 16101 Greenwood Ave N, 98133, lobby of administration building. Campus Parking is FREE after 4pm on weekdays
| The Gallery is in the lobby of the Admin Building 1000 Photo by Wayne Pridemore |
Alex Boeschenstein (U.S., born 1988) is a Seattle-based interdisciplinary artist rooted in the traditions of drawing and printmaking.
Since 2012 his artistic practice has evolved to include digital collage, video, sculpture, 3D modeling, game design, and installation.
Alex has exhibited his work in Gallery 4Culture, Glass Box Gallery, Out of Sight (at King Street Station), The Alice Gallery, AXIS Art Gallery, and Manifest Gallery in Cincinnati, OH.
Alex's artwork explores the tension between depictive and physical space through an approach where tactile processes and forms of digital media are seamlessly interwoven.
In both the tactile and digital realms he draws from a variety of technical visual languages and information visualization techniques, including exploded-view schematics, architectural floor plans and 3d models.
Alex has exhibited his work in Gallery 4Culture, Glass Box Gallery, Out of Sight (at King Street Station), The Alice Gallery, AXIS Art Gallery, and Manifest Gallery in Cincinnati, OH.
Alex's artwork explores the tension between depictive and physical space through an approach where tactile processes and forms of digital media are seamlessly interwoven.
In both the tactile and digital realms he draws from a variety of technical visual languages and information visualization techniques, including exploded-view schematics, architectural floor plans and 3d models.
“Fields of Irisarri” is a body of work consisting of non-reproducible woodblock prints created through accumulating myriad layers of superimposed rubbings. Each layer either nestles its topography into the strata of the existing field or negligently buries sections of the previous markings underground.
The process illustrates that there are only two forms of additive mark-making devoid of erasure: one in which the additive mark shrouds nothing because the substrate is a tabula rasa, and the other in which the additive mark respectfully interlaces its body into its new environment.
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