Beginning with a crinkling cadenza of paper material, a solitary note eventually finds its voice through quiet colors. This note bends around looking for the “river”, eventually finding the source. A lush melody ebbing and flowing takes over and guides our lone traveler to the end of the river. – Jonathna Hannau
In response to the sound component of this project, the visual process focuses on translating abstract soundscapes with elements gathered from threads of conversation: corresponding colors, lines, and forms resonating the dynamics and density of the sound structure. This imaginary walk traces a long path to the river.” – Yoonshin Park
Ten x Ten is a collaboration between visual artists and musicians exploring visual and auditory interaction. By challenging artists to conceptualize their work across media, Ten x Ten asks participants to stretch and expand their creative process. Through producing a limited edition compilation and public presentation of the resulting artworks, Ten x Ten documents, celebrates, and promotes Chicago’s artistic community.
Yoonshin Park is a Chicago based multimedia artist, curator, and educator working with sculptural papers, artist books, and installations. Her interest in the comprehensive process of papermaking and bookbinding caters her work to encompass various elements woven into complete objects. She often uses her experience as a foreign transplant to question space and its implications in defining one’s identity as the inspiration behind her work.
Ten x Ten is a collaboration between visual artists and musicians exploring visual and auditory interaction. By challenging artists to conceptualize their work across media, Ten x Ten asks participants to stretch and expand their creative process. Through producing a limited edition compilation and public presentation of the resulting artworks, Ten x Ten documents, celebrates, and promotes Chicago’s artistic community.
I grew up visiting my grandparents in rural Michigan, where today, there are still dirt roads, fields of wild flowers and a sky so dark, you can really see the stars. I still visit my parents there, and during this horrible pandemic, it has been a blessing to see my five-year-old – who lives in our city apartment – run free, grow a garden, watch bees pollinate the sunflowers and dash outside at night to see if the moon is a crescent or full.
Science has proved that being in nature reduces anger, fear and stress, and boosts our overall health. Yet, our experience of nature is becoming increasingly less direct. Man’s destruction of the environment and urbanization have made nature feel compartmentalized to me – somewhere to go on an outing — and for many, difficult to access at all. Add to that: Real human interaction is now often mediated by technology – a digital screen inserted between us and the physical world. During the pandemic, this issue has come into sharper focus. Ironically, the digitization that limited personal contact in the past, facilitates much of our safe communication today. Now, I think that being outdoors at a distance, safe in nature, is more than ever a much-needed salve to our jittery psyches. In my work, I sort through these ideas, while in my life, I am constantly in search of a more authentic analog experience.
The baculites fossil that my silkscreen piece is based on is is all that remains of a sea creature that went extinct around the same time as the dinosaurs, about 65 million years ago. The fossil has a lace-like pattern that is formed by the sutures that were in this animal’s exoskeleton. Baculites started out very tiny and had to grow quickly to protect themselves from predators, building new chambers on their shell as they grew. The contour patterns, which mark the different chambers, are not only beautiful but remind me of both the physicality and fragility of life.
Katherine Lampert is an artist and teacher based in South Haven, Michigan and Chicago. Her studio work considers texture, color, entropy, and the evolving relationship between nature and technology. Her multi-layered painting process often begins with a photographic study of pattern in nature, such as a cloudscape, the lace-like remnants of a two hundred million-year-old fossilized sea creature, or the unusual markings on a rare tropical insect. These images serve as inspiration and a point of departure for her semi-abstract works.
Ten x Ten is a collaboration between visual artists and musicians exploring visual and auditory interaction. By challenging artists to conceptualize their work across media, Ten x Ten asks participants to stretch and expand their creative process. Through producing a limited edition compilation and public presentation of the resulting artworks, Ten x Ten documents, celebrates, and promotes Chicago’s artistic community.
This print, this project, this past year….
Everything about this print changed from when we first sat down in 2019 at the Sweet Water Foundation until finished in late 2020. We had talked about our work, about disenfranchisement, about building a path within limitations, the hope and belief in a beautiful world. That conversation became a candle in the dark for me, a touchstone transporting me back to the rooted and everyday quality of my work at Sweet Water. Andrew provided some soundtrack for the process, works by Nathalie Joachim and Tyshawn Sorey. Nathalie’s music especially resonated with me. It felt so joyful, powerful, deep, and light.
Titled ‘Work with Whatchya Got’, the resulting visual piece is a 7-layer screenprint. The images were sourced from direct prints of found objects. I’ve included photos of the original prints, and you can see a loss of detail and subtlety from the original to the screen. Keeping in mind our thoughts on having to work without, I intentionally made some layers hard to print, producing small differences between copies in the edition. This became a lockdown print. The Styrofoam left by a resident artist, from a toy bought to occupy a child, the rhubarb leaf, the grounding quality of gardening while also mimicking the layout of a city – pathways, roadways, airways- highlighting a lung shape (misshape); the crow feather – freedom, sentience, joy, and mourning; the crushed cans and lid, remnants of lives lived, the seal and plaque on a memorial to our everyday; and a modern ‘tin can phone’ with plastic bottles, the fraught and incomplete communication through distance.
Ten x Ten is a collaboration between visual artists and musicians exploring visual and auditory interaction. By challenging artists to conceptualize their work across media, Ten x Ten asks participants to stretch and expand their creative process. Through producing a limited edition compilation and public presentation of the resulting artworks, Ten x Ten documents, celebrates, and promotes Chicago’s artistic community.
The collaboration between composer Amy Wurtz and artist Susan Giles explores memory and gesture situated in recollections of the idea of “home.” Using the same source material of a recorded story and gestures of a member of a choir for senior citizens with early-stage memory loss, the artists develop dual works that bring into focus the ways movement and sound are connected to memory, place and emotion.
Susan Giles is an artist working in sculpture and video.
She has a MFA from Northwestern University and a MA from The School of the Art Institute of Chicago. Giles’ work has shown in Chicago at THE MISSION Gallery, the Museum of Contemporary Art, and The Renaissance Society, as well as Mixed Greens in New York and Galeria Valle Orti in Valencia, Spain, among others. She has received several grants, including an Individual Artist Project Grant from DCASE in 2015, awards from the Illinois Arts Council in 2014 and 2009, a 2005 Louis Comfort Tiffany Award and a 1998 Fulbright Grant to Indonesia to conduct research on the intersection of tourism and culture in Bali.
Giles is an Assistant Professor in the Department of Contemporary Practices at The School of the Art Institute of Chicago.
Ten x Ten is a collaboration between visual artists and musicians exploring visual and auditory interaction. By challenging artists to conceptualize their work across media, Ten x Ten asks participants to stretch and expand their creative process. Through producing a limited edition compilation and public presentation of the resulting artworks, Ten x Ten documents, celebrates, and promotes Chicago’s artistic community.
In regards to the form we –instead of patterns– are observing the spaces in between them. These repetitive divisions that interrupt a line, or define a beat’s closing/opening.
Our vehicle will be the mouth, our mouth, any mouth for that matter, those that surround us among family and friends, each of them seem very unique either still or gesticulating. They will tell us a story of voluntary death, the life-in-despair and death-in-excess, swapped for life-in-excess and death-in-despair. Each of these mental states linked by events that trigger and define these patterns.
Conceptually, the dialogue between sound and visuals would serve as reflective space for the audience to think about these spaces linking their own mundane routines.
Carlos Matallana is a Bogotá-born and Chicago-based visual artist, a teacher, and a New Tech Curriculum developer. He has taught graphic design, web design, and comics in different after-school programs around Chicago since 2005.
Ten x Ten is a collaboration between visual artists and musicians exploring visual and auditory interaction. By challenging artists to conceptualize their work across media, Ten x Ten asks participants to stretch and expand their creative process. Through producing a limited edition compilation and public presentation of the resulting artworks, Ten x Ten documents, celebrates, and promotes Chicago’s artistic community.
The basic concept is “evolution.” An idea may start alone and simple with no ornamentation or elaboration. Through time this idea begins to grow and adapt based on various outside influences. This transformation sees the idea evolve into something new.
David Keller (composer)
and Alexandra Antoine (artist)
Alexandra Antoine is a multidisciplinary artist who holds a Bachelor in Fine Arts and Arts Education from the School of the Art Institute of Chicago. Her work has been exhibited at Rootwork Gallery, Hyde Park Art Center, Roots & Culture, Roman Susan Gallery, South Side Community Arts Center and Stony Island Arts Bank in Chicago, IL. Her work is also part of the Arts in Embassies program at the U.S. Embassy in Port-au-Prince, Haiti. She is the recipient of the inaugural SPARK Micro grant from Chicago Artist Coalition and a DCASE grant. She has completed residencies at ACRE (Steuben, WI) and Ox-Bow (Saugatuck, MI). She also works with Free Write Arts & Literacy as a teaching artist throughout the city.
]]>Ten x Ten is a collaboration between visual artists and musicians exploring visual and auditory interaction. By challenging artists to conceptualize their work across media, Ten x Ten asks participants to stretch and expand their creative process. Through producing a limited edition compilation and public presentation of the resulting artworks, Ten x Ten documents, celebrates, and promotes Chicago’s artistic community.
OF SOUND AND LINE
terror and grace
where is the wound
a sense of urgency
elongating, unraveling
immediacy
delicate birdsong, an alien thing
structure queered by animal improvisation
confident lines in a strange sky
– Trevor Patrick Watkin (composer)
and Jessie Mott (artist)
Jessie Mott is a Chicago-based visual artist, writer, and social worker. Her practice includes painting, drawing, and sculpture. She has participated in numerous group and solo shows including Devening Projects + Editions and the Hyde Park Art Center, and her collaborative animations with Steve Reinke have been screened widely at national and international venues, including the Whitney Biennial. Jessie holds an MFA in Art Theory & Practice from Northwestern University as well as Masters in Social Work from Loyola University Chicago.
]]>In collaboration with Janice Misurell-Mitchell
Ten x Ten is a collaboration between visual artists and musicians exploring visual and auditory interaction. By challenging artists to conceptualize their work across media, Ten x Ten asks participants to stretch and expand their creative process. Through producing a limited edition compilation and public presentation of the resulting artworks, Ten x Ten documents, celebrates, and promotes Chicago’s artistic community.
Shimmerings
A lot of different colors
Sneaking in
Nasal
Dissonant
Popping thing
Softer
Dots
Original form and inversion
Absolute mirrored images
Lower
Higher
Spatial
Pointy
Make themselves known and go back into their texture
Clusters reaching out
Mumbling
Bubbling
Shimmering
7 beats, don’t want to do 8, it’s too square.
Janice Misurell-Mitchell (composer)
and Selina Trepp (artist)
Selina Trepp is an artist researching improvisation and economy within self-imposed limitations. For example, this edition at Spudnik Press was the first time in three years she worked from a new stock of art supplies. Trepp combines performance, installation, painting, and sculpture to create intricate setups for photos, drawings and animations. She is also active in the experimental music scene. Trepp’s work has been shown locally and internationally, as a solo artist and collaborator. She has received numerous awards including an Illinois Arts Council Fellowship. She lives and works in Chicago.
]]>Commissioned by Homeroom/Spudnik Press for Ten x Ten 2017 Dual Practices
The cultural geographies of Hsiao and Locks are mapped together. The print takes Chicago’s Blue Line train as center stage with a patterning score, which interrupts and compliments. The sound rearranges a traditional Taiwanese folk song for guitar, sculptural objects, molds, analog sampling and hip-hop. Sculpture Orchestra is an improvisation-based work that transforms sculptures and mold into performative objects by activating interior spaces and surfaces of sculptures. Contributors: Damon Locks, Adam Bach, Daniel Baird, Chinting Huang, Jennfier Huang, Kelsey Quinn Harrison, Eric Leonardson, Jeff Prokash, Ellery Royston, Elizabeth Van Loan, Adam Vida.
]]>Commissioned by Homeroom/Spudnik Press for Ten x Ten 2017 Dual Practices
In THAT ALLOW THE LOWEST LAYER THROUGH, the flute is an ear for listening, an eye for seeing, or a mouth for speaking with an other voice. Huckabay and Booth explore the flute as a resonant chamber, or “room”, that modulates sound and light. In their collaborative composition, the flute is prepared with an internal loudspeaker, wired to a computer. The signal is muted, filtered, modified, and controlled by the flute’s various possible openings. The screenprint is adapted from a photograph created by inserting a roll of 35mm color film into the bass flute and exposing it to light by opening and closing the keys.
]]>Five artist pairs collaborated over several months to each create a two-part work that includes a song or audio piece and an 18” x 18” screen print.
The Ten x Ten 2017: Dual Practices collection features sonic works by each artist pairing as well as a fold out booklet with their coinciding prints and artistic statements.
Featured artists pairs for Ten x Ten Dual Practices are:
Melina Ausikaitis / Ambrosia Bartošekulva
Mark Booth / Deidre Huckabay
Cathy Hsiao / Damon Locks
Lou Mallozzi / Joseph Clayton Mills
Allen Moore / Sadie Woods
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Somaphony is one of ten prints published as part of the Ten x Ten 2015 Collection. Ten x Ten 2015 is the result of a year-long collaboration involving ten unique partnerships between jazz/improvising musicians and visual artists focused on the role of improvisation.
Somaphony was printed in conjunction with music by the same name composed by Jason Stein.
“Using a string of lights, we generated an image of bodily movement involved in producing music on a bass clarinet. The musical composition utilizes indeterminate procedures to explore the roles that choice, vocabulary, and discipline play in improvisation.”
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