K Staelin | work | topic: perception
K Staelin
Hearing you, seeing me., 2016
Mixed media with video projection
Approximately 72 x 42 x 24 in.
This sculptural video installation, Hearing you, seeing me., explores differences in how we perceive other people's faces and our own.
K Staelin
Hearing you, seeing me., 2016
Mixed media with video projection
Approximately 72 x 42 x 24 in.
Chair, 2013
Dynamically processed image
Dimensions variable
Blue and Pink Flowers, White Background, 2012
Digital print
8 x 10 5/8 in.
Daffodils VII, 2012
Photograph
12 x 12 in.
Daffodils V, 2012
Photograph
12 x 12 in.
Daffodils I, 2011-2012
Photograph
12 x 18 in.
Image (Picture of a Man), 2012
Plastic gels, acrylic paint, paper
17 1/2 x 14 in.
Seeing through a camera.
K Staelin
Patter/ns, 2010
Dynamic digital projection, mirrors, patterned rug
112 x 108 x 180 in.
This work is inspired by the distillations and associations made within conversation. Two small mirrors reflect the projected dynamic drawing downwards onto the rug while a third mirror bounces it to a large mirror that in turn bounces it onto the rug. The larger reflection created by the double bounce extends the dynamic, highlighted rug patterns yet further, paralleling how conversation extends beyond the participants.
Documentation of Patter/ns, 2010
Diagram of Patter/ns, 2010
K Staelin
Cars | Cone, 2009
Paint, gel, tape, mirror, with projected dynamic image
Dimensions variable
This work physically articulates how specific our visual focus is - focusing on two things simultaneoulsy is very difficult. The moving cars and pedestrians are one one wall and via mirror, the cone appears on the opposing wall.
K Staelin
Cars | Cone, 2009
Paint, gel, tape, mirror, with projected dynamic image
Dimensions variable
A.M., 2008
Pastel, colored pencil, graphite, gouache, watercolor, paper
81 x 88 in.
Working within the "short-term memory time frame," A.M. captures a brief, specific moment from the morning commute through the park--eyelevel shifts higher, the sky widens, water below,turn right to work.
A.M.: Approach, 2008
Acrylic, medium, ink, pearlescense, plastic film, marker on canvas
Paper: 9 x 12 in.
Brief, specific moment from the morning commute through the park.
A.M.: Green, 2008
Acrylic, medium, graphite, pearlescense
9 x 12 in.
A.M.: Here II, 2008
Digital image on mylar with acrylic, medium, pigment
Paper: 9 x 12 in.
Brief, specific moment from the morning commute through the park.
a.m.: ››turn>>ing››ed: north here, 2008
Ggraphite, thread on mylar
4 1/2 x 9 in.
Keeping the sense of North while turning. 1 of 25 drawings exploreing the act of turning onto a path by dividing it into three moments and drawing various sensory information for each of the three moments.
a.m.: ››turn>>ing››ed: Change - people and ground, 2008
Colored pencil, gouache, graphite, mylar
4 1/2 x 9 in.
Notion of the path as cobbled from ever different moments, the people coming and going quickly, the seasons more steadily. 1 of 25 drawings exploreing the act of turning onto a path.
a.m.: ››turn>>ing››ed: pivot, 2008
Tape, graphite, thread, mylar
4 1/2 x 9 in.
Anticipating and pivoting. 1 of 25 drawings exploreing the act of turning onto a path.
Untitled (Vase), 2007
Paper, plastic, yarn, postcard, clock, pencil, gouache
Approx. 50 x 48 x 30 in.
A delicate white paper vase sits on a table. Yarn marks the distance to the vase and then the eyeÍs leap between the orange of the petals and postcard.
Uncountable Date, 2007
Mixed media on wall
West wall: 96 x 60 in.; East wall: 83-1/2 x 31 in.
Uncountable Date shows two views from a terrace. The drawing looking out includes afterimages from looking at the sun, yarn marking the placement of the feet and visual perspective indicating the placement of the eyes. The drawing of the wall behind shows rough impressions of what I know to be behind me.
Room|Branch, 2007
Graphite, gouache, conte, charcoal, watercolor, yarn, marabou, bead, paper
Paper: 28 x 33 1/8 in.
Preparatory drawing for the installation "Room." This drawing plays with levels of attention. Dark red circles give way to more refined representations of the chairs, just as ones sense of a chair changes as it falls in and out of peripheral vision.
Detail of Room|Branch, 2007
Window frame and tree rendered as I understand them to be and see them to be.
Diagram of Room, 2007
Room consists of 7 works that play with levels of attention.
Chair, 2007
Tape, gouache, wire, bead, yarn, nylon line, marabou, plumb bob, graphite, pastel, charcoal, paper
78 x 44 1/2 x 29 in.
Chair shows a chair that one is aware of but not looking at directly. It's the red thing over there and the closest corner is about "here."
Detail of Chair, 2007
Another view of Chair. At certain angles the yarn, beads, and drawn shadow visually coalesce and register as a "real" chair.
Uninteresting Wall, 2007
Gouache, conte, graphite, bead, marabou, nylon line, paper
78 x 88 in.
Even though we may not focus on the most of the walls we encounter in a day, we register certain aspects such as height. This drawing explores this process of selectively registering information.
Detail of Uninteresting Wall, 2007
Corners noted with beads and lines.
Door, 2007
Yarn, bead, marabou, nylon line
94 x 8 in.
Detail of a sculptural drawing of a doorway and one's instinctual awareness of the opening edge handle.
Room Eyelevel, 2007
Gel, bead, wire, gouache, yarn, paper
5 x 5 1/2 x 6 3/4 in.
Sketch of one's eyelevel.
Sitting>>Here
Cable, chain, hardware, beads, marabou, paint, nylon line, dust, texture, glue
117 x 70 3/4 x 40 1/2 in.
The sensations/calculations in sitting down.
Doorway, 2007
Coated cable, chain, hardware, marabou, ostrich feathers, plumb bob, pulley, line
66 x 19 1/2 x 12 in.
A delicate white paper vase sits on a table. Yarn marks the distance to the vase and then the eyeÍs leap between the orange of the petals and postcard.
seeingYarn, 2007
Diagram
Consisting of three drawings and yarn, Seeing Yarn investigates the process of seeing a line of yarn connecting the floor and ceiling. One drawing shows the yarn seen peripherally, one drawing explores the identification of it as yarn and a third examines the process of assessing it's dimensions, location and basic qualities.
seeingYarn, 2007
Installation
seeingYarn (ID), seeingYarn (calculate), seeing Yarn (glance), 2007
Mixed media on paper
Each: 78 x 44-1/2 in.
seeingYarn (ID) II, 2007
Mixed media on paper
78 x 44-1/2 in.
View/Study, 2007
Paper, gouache, plastic, tape, glue, pastel, graphite, colored pencil, water color, marker, yarn, beads, marabou
44 1/2 X 50 x 28 in.
Situated in a corner, this landscape records the act of looking out the window and includes spatial calculations, color notations and the peripheral blur of the interior.
Know, 2006 Homasote, concrete, paint, pigment, glue, marker, charcoal, graphite, medium, gesso, hooks, pins, yarn 42 plus 20-1/2 x 67.957428 in.
Detail of Know, 2006 Homasote, concrete, paint, pigment, glue, marker, charcoal, graphite, medium, gesso, hooks, pins, yarn 42 plus 20-1/2 x 67.957428 in.
Square II, 2006 Homasote, polyurethane glue, paint, chalk, hooks 38 1/2 x 38 1/4 in.
Misleadingly simple, Square II functions on contradictory perceptual levels, playfully addressing ideas of fracture, assemblage and self-presentation. Square II consists of a square piece of homasote, fractured and glued together. A golden square the size of the original square and the color of the glue is painted over the assembled pieces. The extra bits that extend past the original dimensions are painted the wall color (white). An illusionistic shadow under the golden square and support hooks driven through the extra white bits reinforce the dimensionality of the golden square and negation of the extra bits. While ostensibly exploring fracture this piece ultimately expresses assertion.
Marriage Ideate, 1996-1997
Oil on canvas
60 x 59 1/2 in.
Dances | Markings, 1995
Oil on canvas
57 1/2 x 62 in.