Show dates: May 31-July 13, 2019 Submission deadline: February 25, 2019
The group exhibition Beyond Punch Cards offers an unexpected perspective on the relationship between textiles and technology. Curated by Francesca Rodriguez Sawaya and Renata de Carvalho Gaui of the ‘Weaving to Code, Coding to Weave’ project, the show unites an international group of artists to challenge common perceptions of both weaving and coding practices. Hosted by form & concept gallery in Santa Fe, New Mexico, the show is an official satellite exhibition of this year’s CURRENTS New Media Festival, an international showcase for new media artists that occupies El Museo Cultural de Santa Fe for two weeks each June.
Beyond Punch Cards appears at form & concept from May 31 to July 13, 2019. Rodriguez Sawaya and Carvalho Gaui will select a number of artists through an invitational process, but are also searching beyond their networks with this call for artists. Entries may be submitted through this Google form from February 5 through February 25, 2019.
“The analytical engine will weave algebraic patterns like jacquard looms weave flowers and leaves.”
– Ada Lovelace, mathematician & creator of the first computational algorithm
The first-ever computational algorithm was inspired by the Jacquard loom’s punch card system for weaving patterns. Since that pivotal “under/over” moment, artists, designers and technologists from across the globe have awed us by creatively exploring the links between weaving and coding. As a home of age-old weaving traditions and a more recent haven for new media artists, the Desert Southwest is fertile ground for an exhibition that conceptually interlaces these practices.
The ‘Weaving to Code, Coding to Weave’ project traveled to Santa Fe in 2018 to facilitate a workshop for the CURRENTS New Media Festival. The class reinforced their awareness of the established intersection between weaving and coding, as many of the weavers that attended were already familiar with the links between the practices. Partway through the workshop, the facilitators pivoted their lesson plan to radical case studies, exposing attendees to projects that re-imagine the relationship between textiles and technology.
This experience informed the development of Beyond Punch Cards. The curators ask, how can weaving and coding present new paradigms for viewing the world around us? How can they illustrate different identities, or keep cultures and history alive? Can these practices converge and evolve to resist obsolescence?
Through this exhibition, Rodriguez Sawaya and Renata de Carvalho Gaui hope to inspire audiences, showcasing projects that use technology to explore the contemporary significance of weaving.
This submission process is open to any and all artists who explore weaving and coding through their work. There is no entry fee. You may enter up to three pieces. 2D, 3D and video works are eligible. Work must have been completed prior to application submission. Work that is available for sale is preferred, but if your project fits the theme and is not commercially available, please submit!
February 5-25, 2019: Submission period.
March 17, 2019: Notification of acceptance
May 20, 2019: Selected artwork due to form & concept
May 31, 2019: Opening reception, 5-7 pm
July 13, 2019: Exhibition closes
July 31, 2019: All work received by artists (unless otherwise arranged)
Renata de Carvalho Gaui is an artist, designer and creative technologist from Rio de Janeiro. In recent years, she has worked on projects involving wearable technology research and design, educational and experiential exhibit design, and female empowerment.
Francesca Rodriguez Sawaya is a Peruvian designer and educator. She uses her skills as a technologist and storyteller to craft compelling narratives about sociocultural realities. Her work revolves around connecting the digital and physical spaces around us, as a way of bringing a more human approach to our digital world.
They both graduated from the Interactive Telecommunications Program at NYU, where they collaborated on artistic projects regarding female empowerment and identity, building bridges between craft and technology disciplines, and educational partnerships between ITP and public schools around New York. They were both organizers and facilitators for these projects.
formandconcept [at] gmail [dot] com
The Santa Fe Railyard is the place to be this weekend! The CURRENTS New Media Festival celebrates its 10th anniversary with a massive exhibition at El Museo Cultural de Santa Fe, and Santa Fe Institute hosts the inaugural Interplanetary Festival at the Railyard Plaza and other venues. Both festivals have partnered with numerous organizations around Santa Fe to present exhibitions and events that bring together art, science and technology. Check out Iris McLister’s article in this week’s Santa Fe Reporter to get it all straight, and make sure to stop by form & concept for two events on Thursday & Saturday. More details below!
Young Masters | NMSA
Thursday, June 7th, 6 – 7:30 pm
New Mexico School for the Arts will soon break ground on renovations for their new Railyard location, and they’re wasting no time injecting fresh creative energy into the arts district. The arts high school presents a special performance series at form & concept, hosted by faculty members and showcasing outstanding student musicians, creative writers and poets. Featured artists include Keenan McDonald, Myriah Duda, Adam Griffo, Acacia Burnham, Jada Baca and Lila Baca.
Join Inner Orbit artists Matthew Mullins and Drew Lenihan for this interactive tour. They’ll engage with Frank Rose and Jordan Eddy of form & concept in a conversation about the show’s themes. Inner Orbit spotlights contemporary artists from across the United States who meld fine art and craft mediums with technology for deeply personal looks at the firmament. The show appears in conjunction with Santa Fe Futurition, the Currents New Media Festival, and the Santa Fe Institute’s Interplanetary Festival.
From a human perspective, the night sky is a densely layered cultural landscape. Long before they were subjects of scientific study, stars were laden with countless overlapping mythologies. Fortune tellers, sailors, writers, architects and artists have all projected profound meaning into the cosmos, tying earthly events to the movements of heavenly bodies.
form & concept is pleased to present Inner Orbit, a group exhibition of contemporary artists who carry forward this grand tradition. They meld fine art and craft mediums with technology to create personal or cultural visions of the firmament. Inner Orbit opens on Friday, May 25 from 5 to 7 pm, as part of form & concept’s Second Anniversary Celebration. Some of the artists will appear at a gallery talk on Saturday, June 9 from 2 to 3 pm.
Under the banner of Santa Fe Futurition, a number of local cultural institutions have banded together to present forward-thinking programming throughout the month of June. There’s the Currents New Media Festival (June 8-24) and Santa Fe Institute’s Interplanetary Festival (June 7-8), both in the Santa Fe Railyard, along with exhibitions and events presented by Meow Wolf, Axle Contemporary and the Thoma Foundation’s Art House.
“The Railyard will anchor a complete solar system of tech and science-themed exhibitions and events next month,” says form & concept Gallery Director Frank Rose. “We’re kicking things off at the end of May with a show that presents outer space not as a dark void, but as a rich source of artistic inspiration.”
Inner Orbit stands out as the first entry in Futurition’s formidable lineup—and also as perhaps its most down-to-earth program. During the curatorial process, Rose sought out artists who view outer space as an enormous cultural mirror.
Painter Katie Dorame recasts space aliens as European colonizers descending upon the Americas. New media artist Andrew Yang presents a two-channel video titled Interviews with the Milky Way, which weaves together cosmic imagery with sound bites from conversations about the stars. In a series of densely detailed graphite drawings, Nina Elder examines the history of meteorites stolen from Indigenous lands by the United States government. Artist duo Hillerbrand + Magsamen contribute portraits of their family in spacesuits, à la Lost in Space.
“These artists work with their hands as much as they’re using computers,” says Rose. “They’re blending technology with other, more analog artistic mediums to tell powerful stories.”
Artists Cory Metcalf and David Stout, who collaborate under the moniker NoiseFold, are best-known for their new media performance art pieces. They bring sound waves and abstract imagery into rhythm across digital landscapes, utilizing generative software to act as the virtual conductors of a cross-sensory symphony. If you’re scratching your head, browse David’s Vimeo for a bit and prepare to be amazed.
Because NoiseFold’s oeuvre exists primarily on the digital plane, they were puzzled at first by a special invitation from Seattle’s legendary Pilchuck Glass School. Glass master Dale Chihuly and his army of artists wanted Cory and David to collaborate with them in a two-week artist residency. In the interview and video below, NoiseFold talks about finding a way to translate digital marvels into physical sculptures. Three bodies of work they created there, Metamorph, Swarm Caste and Vestiges, are on view at form & concept through Saturday, July 22.
How did you first strike up your collaboration as NoiseFold?
David: I was awarded a fellowship at Harvest Works in New York City to develop a piece that was an artificial ecosystem of sorts. We were working with live, 3D generation of forms. That is really where the NoiseFold collaboration was born. Once we realized that this method of working with generative images in real time had amazing possibilities for a performance system. We launched Noisefold immediately coming out of that installation.
How did you come up with the name NoiseFold?
David: The name was kind of effortless. There was a certain literalness to the idea that we were working with signal and noise. We were also working with visual forms that we could fold in virtual space, almost like origami. So there was that literal aspect. Also, I like the word fold because a group can be referred to as a fold.
We were interested in the term noise as a kind of field of possibilities. We often think of noise as a disruption but, in fact, noise is infused in everything we do. Our heartbeats create noise.
Cory: We were also looking at what one person considers music and what one person considers noise. There’s always a grey area where something ceases to be musical, and becomes “sound” or “noise.” We wanted to play with that edge where you have discernible form — something that’s really familiar — and where it starts to fall apart and it stops making sense to the ears.
The same thing happens with the visual vocabulary of NoiseFold. The moment that you attach that significance to a certain form, where it starts to represent something in the real world, often it drifts into a “noisier” place again.
Viewers have often reported moments of sensory overload after watching your performances. Could you talk about that?
Cory: There’s a very intense experience often, particularly in our earlier work, of having these things feel like they’re speaking to you or coming at you. It’s very hard to trivialize the forms that you’re seeing, because they seem to be very viscerally active and alive. That, coupled with the forms being almost familiar and yet not quite, many people have reported to us that it can be exhausting to watch our work. This includes fans who come to most of our shows. Your brain is constantly struggling to make sense of what you’re seeing. It’s almost something, but you can’t quite pinpoint what it is.
We’ve had people say things like, for the first 20 minutes they were just trying to understand what they were seeing. And then they had almost a total shutdown of that part of their brain, that kind of language center that’s trying to make sense of things. I think for a lot of people, if it doesn’t shut down, it’s just exhausting. Because you’re just constantly struggling to keep up with what you’re experiencing.
Do you ever experience that as you’re creating the work?
David: Only because we will do this for 10 to 20 hours a day, and then we feel it. Most of the time, I just get lost in the visual wonder of it all. So it doesn’t really exhaust me. We’ve been playing with this thing lately, where we’re creating an image space that alludes to some phenomenon in the real world, whether it’s biomorphic or architectural, macrocosmic or microcosmic. You recognize that you think you recognize it, and then it suddenly, fleetingly becomes something else. We’re constantly asking the audience to fill in the missing space between abstraction and representation.
As the work has evolved, we’ve diversified easily into doing a lot of different kinds of things. Sometimes it’s more musical, sometimes it’s more cinematic. We’ve also gotten into a lot more quiet spaces. We’re willing to explore more empty moments. It’s not quite the same kind of space as when we first began.
When you’re working with generative forms, is it difficult to relinquish control over how the imagery is going to appear?
Cory: Early on in the system we would purposefully build in autonomy of the system. We’d give the system a little bit of a mind of its own. Whatever we performed we’re having to make decisions that change, and we never have complete control over the system. That was always by design. I think that’s one of the things that excites us more than it holds us back or frustrates us.
We’ve spent an enormous amount of time just kind of reigning our system in. A lot of times we start out by developing a technique, and that technique in and of itself might be extremely chaotic. But we always have a large number of parameters that we can fine-tune and explore. We seek out these sweet spots and kind of unfold vast areas of fruitful materials. From here, our approach is often to make sure we don’t confine it too much.
Did you find connections between your performance art and the work you were doing at Pilchuck Glass School?
David: There’s an exciting challenge to that virtual, cinematic space, where some aspect of what you’re doing is sort of ephemeral. It’s never repeated in exactly the same way. It can be more liberating than when we’re making objects, like the work we were doing at Pilchuck. When you’re making sculptures, it feels like there’s more pressure to be perfect in that realm than there is in the performative realm. On the other hand, one thing we discovered at the residency is that glass making is performance.
Cory: It has a lot of the same time constraints that real-time performance has. You can’t infinitely work the material. There’s many parts of the process where you can’t even slow down, and if you do it completely changes the potential for the rest of the process. So it has the same level of immediacy. And it has, in its own way, the same level of imperfection.
How did you end up at Pilchuck?
David: We were part of an exhibit at the Cornish College of the Arts, at the end of 2014. The director of the Pilchuck Glass School saw what we were doing and invited us to the residency program shortly thereafter. It wasn’t something that we would’ve thought of on our own. It was an intriguing idea.
Pilchuck is considered among the very top glass schools in the world. It was founded by Dale Chihuly. It has a long tradition. The students that go there are often very accomplished professionals. And the current director is very interested in digital media artists and conceptual artists.
Did you plan what you were going to do during the residency?
Cory: We went there thinking very digitally. We were going to take a number of our forms and do some 3D printing of molds to create cast glass forms.
David: When we got there, we were told that we had eight solid days with two of Dale Chihuly’s glass blowers. So we changed gears instantly, because that was really exciting. We used the software that we’d developed to generate novel forms, and then chose various forms. In the case of the piece that we’re showing there, the Metamorph series, that is actually a transformation between one shape and another. We set out to recreate different parts of the transformation in glass.
The glass artists had never done anything like this before and it turned out to be very effective. When Chihuly is making work, he essentially sits at a table and draws something in charcoal, and shows it to the gaffers, as they’re called, and they blow it. We were doing something very similar except we were showing them a 3D model that they could rotate in space, and look at two different views simultaneously. We could get very technical about how we were realizing the forms.
Cory: Each piece in Metamorph can stand on its own, but really it’s a series of 8 pieces that make a transition from the sphere into this other double cone form. It’s really intended to be viewed so you can actually see the transition from one state to the next. And so the 8 pieces together make up the whole of this time based process that you see in this transformation.
You’re accustomed to collaborating with each other. How did you feel about the process of bringing in these glass artists as collaborators?
Cory: It was one of the best collaborations that I think both of us have ever experienced. It was very interesting to see how collaboration works in a hot shop, a glass space, because it’s this incredible level of non-verbal communication. It’s almost like watching people dance with—
David: Flaming hot substances.
Cory: It was very interesting to see the degree to which it was both very challenging and very possible to realize the forms that we presented to these guys.
form & concept explores the boundaries of perceived distinctions between art, craft and design. How do you connect with that mission?
David: I would say it really resonates with us after our experience at Pilchuck. It was eye-opening to be there among these craftspeople who are involved in the contemporary art world, but also the production glass world or design world. The distinctions between those worlds start to break down a little bit, and the common meeting place is the joy of the craft.
I think that’s a boundary that’s going to fall. These things kind of ebb and flow. It goes along with this old media versus new media question. People want something tangible along with their virtual experience.
Cory: The opportunity for new media artists, traditional artists and production environments to merge together is just so obvious. Creating artificial boundaries between those worlds is not the right thing to do at this juncture. I think it’s an important moment to start breaking those boundaries in the art world as much as possible.
David: We did similar things working with musicians, because we’ve done a number of projects where we’re working with more traditionally trained, classical musicians, even though the music itself was more experimental. The glass work fits completely within that same kind of paradigm.
Move over, hammer and chisel. NoiseFold‘s sculpture installation at form & concept was generated in the digital world, and forged in the legendary glass studio of Dale Chihuly. Transdisciplinary artists Cory Metcalf and David Stout, who collaborate under the name NoiseFold, are known for combining visual art, music and interactive cinema into artworks that manipulate the senses and stretch the imagination. The centerpiece of their exhibition, a series of blown glass forms titled Metamorph, emerged from an unexpected project with master glass artists. Metcalf and Stout will speak about their installation at a gallery talk on Saturday, June 17 from 2-3 pm.
The unveiling of the artwork coincides with the special reception for form & concept’s One-Year Anniversary Exhibition, the Superhero Masquerade, on Friday, May 26 from 5-8 pm. The installation is on view through July 22.
NoiseFold will also appear in the Currents New Media Festival 2017, opening June 9 at El Museo Cultural, a short walk away from form & concept in the Railyard Arts District.
In its first year, form & concept has emphasized powerful and diverse storytelling through its exhibition schedule and programs. The gallery’s roster of represented artists has been steadily growing, making for a dynamic One-Year Anniversary Exhibition (May 26-October 22, 2017). The majority of form & concept’s represented artists will speak, along with several guest artists.
Move over, hammer and chisel. NoiseFold’s sculpture installation at form & concept was generated in the digital world, and forged in the legendary glass studio of Dale Chihuly. Transdisciplinary artists Cory Metcalf and David Stout, who collaborate under the name NoiseFold, are known for combining visual art, music and interactive cinema into artworks that manipulate the senses and stretch the imagination. The centerpiece of their exhibition, a series of blown glass forms titled Metamorph, emerged from an unexpected project with master glass artists. NoiseFold’s sculpture installation opens on Friday, May 26, 5-8 pm, in conjunction with form & concept’s Superhero Masquerade: One-Year Anniversary Celebration.
NoiseFold will conduct an artist talk at form & concept on Saturday, June 17, 2-3 pm. The installation is on view through July 22, 2017.