Open Studio Showcase Review

Open Studio Showcase Review

Fine artist Renae Barnard opened the doors to her private studio location in Los Angeles for an exclusive showcase Sunday, May 27th. Invitees were the first to preview recently completed works by the artist.

renae-barnard-open-studio-14.jpg
sarah-barnard-los-feliz-bungalow-18.jpg

Working through a variety of mediums, Barnard's studio is thoughtfully curated with paintings, sculptures, and installations. Her latest work includes paintings and sculptures made with salt. This mineral inclusion creates natural formations and crystalline surface qualities when combined with paint.

Throughout the event, Barnard generously shares insights into her artistic process and material explorations with guests.

Her multi-media works incorporate recycled materials from the furniture manufacturing industry to create sculptural foundations for painting. The organic formations and layered textures reference natural earthen elements and minerals. A gem-like color palette of low-VOC paints was specially provided by Dunn-Edwards in support of this eco-conscious project.

The artist displays her collection of gemstones; a personal vignette of inspiration for these new works.

"Many of my sculptures are worked within inches of collapse and reflect my attraction to the imperfect and aged" says Barnard. This is a recurring theme seen throughout the artist's body of work. Her latest sculptures also experiment with paint and salt, and are displayed in crumbling volcanic formations. The fractured surfaces reveal saturated colors and tectonic layering.

Illuminated installations by Renae Barnard add ambiance to the intimate studio space. Made from recycled plastic sheeting, the artist knots and drapes the materials into cloud-like sculptures. The lightweight material floats above guests heads with a soft glow.

The event was well attended by private collectors, local journalists and close colleagues of the artist. A quick walk-through of the studio showcase featured artworks at every turn. The diversity of media and artistic process reveal Barnard's pleasure of the hand-made.

RenaeBarnard-2017-full-3.jpg

Mauveine State a paper sculpture on display by the artist was meticulously dip dyed by hand to reveal the delicacy of each layer. Barnard often pushes the limits of materials in her own works to reveal their delicacy and transience. Her intrinsic approach delights in the tactility and decadence of making in a way that viewer's are immediately drawn to.

Barnard has a Master of Fine Arts degree from Claremont Graduate University and is a recipient of the Sue Arlen Walker and Harvey M. Parker Memorial Fellowship, the Armory Center for the Arts Teaching Artist Fellowship, the Ahmanson Annual Fellowship, the Lincoln Fellowship Award and the Christopher Street West Art & Culture Grant.

Barnard has created site specific, socially engaged works and exhibited at local and international galleries/film festivals including Shoshana Wayne Gallery, Los Angeles Municipal Art Gallery, Rutgers University, Towson University, Drake University, Harriet & Charles Luckman Gallery, SOMArts Gallery, Pete & Susan Barrett Gallery, LGBT Film Festival Boston, Long Beach LGBTQ Film Festival, Tampa International LGBTQ Film Festival, and the Bergamot Station Arts Center in Santa Monica among others. To learn more about Renae Barnard, please visit:

www.renaebarnard.com

.

WTP Central Studio Tour: Renae Barnard


Studio Tour: Renae Barnard


The Studio Tour series offers an inside peek into the work environments of WTP artists, as well as insight into their creative process within these resonate spaces.
By Jennifer Nelson, WTP Feature Writer
Renae Barnard is recognized by the United States Green Building Council (USGBC) as a Leadership in Energy Accredited Professional (LEED AP) and by the International Institute for Bau-biologie® & Ecology as a Building Biologie Practitioner. She has recently completed projects in cooperation with the National Immigration Law Center and the City of Santa Monica Department of Cultural Affairs. She is a recipient of the Sue Arlen Walker and Harvey M. Parker Memorial Fellowship, the Armory Center for the Arts Teaching Artist Fellowship, The Ahmanson Annual Fellowship, Lincoln Fellowship Award, and Christopher Street West Art and Culture Grant.
For Renae Barnard, her studio is on the go. She weaves in her lap; bowls of salt mixture are evaporating on her front porch; she may rent out temporary spaces around Los Angeles as her projects require. For her most recent public work, at Bergamot Station, Santa Monica, California, she shared space with other artists in a large commercial building in Boyle Heights. “Sharing space with other artists on a short-term basis allows me the access to equipment I may need,” she says, “like a spray room, wood shop, or kiln without the financial burden of permanent overhead.”
Nevertheless, she faces challenges when sharing space, the main one in Los Angeles, not having a parking space. This meant that Barnard had to haul sculpture materials down a sidewalk to a metered parking space. “It’s not always the most convenient, but it’s manageable,” she says.
For two years, her studio was a tiny white box in Claremont, a city thirty miles east of Los Angeles, where she kept weaving and sewing materials, as well as tripods for her photography. Many of the materials were incorporated into works such as “Displaced Tinder,” a sculpture of twisted medical exam paper wound around school chairs.


With time, she has realized form through repetitive movements like weaving, sewing, and twisting motions. Now she is experimenting with other modes of accumulating form, including a series of fiber sculptures of cotton batting, upholstery foam, and polyester fiberfill scraps discarded by furniture manufacturers. These materials are supplemented with water-based paints by Dunn Edwards, salt, water-based glues, and vinegar. “I’m interested in the ways in which basic chemistry might create form beyond those achievable with my hands,” says Barnard.

To work, Barnard requires silence and solitude. She doesn’t want music, visitors, or lingering clutter. Her process is generally exploratory, allowing room for discovery along the path and at the finish. There’s an undercurrent of chaos that she’s always wrestling with. The outcome is not a literal display of the problem, nor is it offering a solution. It is a record of the thought process and the struggle: “I’m interested in examining our situations and hopefully moving beyond the place where we stand now.”



See Renae Barnard’s work in Vol. VI #4
Copyright 2018 Woven Tale Press LLC. All Rights Reserved.

"Material World" Renae Barnard featured in Selvedge



Material World


Guest post by Abby Sin
At times language cannot adequately express the intricacies of our thoughts and desires. Artist Renae Barnard explore the poetics of materiality through handmade objects and ephemeral installations. Working with a range of fabrics and reclaimed materials such as blankets, jute and hemp rope, medical bed paper, rags, ribbon and lace scrap, Barnard’s compositions make a connection between materiality, perception, and time.
Indulging in the pleasure and tactility of making, these folded, twisted, and sewn objects are both destroyed by and reinforced with the repetitive gestures by which they are made. 'Many of my sculptures are worked within inches of collapse and reflect my attraction to the imperfect and the aged' says Barnard. The time consuming and ritualistic processes of braiding, weaving, stitching and hand-dying textiles highlights the delicacy and transience of the material. 'Why are attributes like softness and delicacy deemed “feminine”? And why are such qualities considered indicators of weakness?' These are just a few of the questions surrounding Barnard’s artwork.
Creating a material language to explore these nuanced precepts, Barnard combines her hand-made craft technique with elements of playful divergence and social commentary. 'I allow myself the sensitivity to make work that reveals both wounds and strengths, wrangling material out of an emotional response to feelings of tension. And so, my reason for making art is so that they might speak in my place, referencing issues that are uncomfortable and difficult to express in words.'


Issue 78 Substance

Selvedge is a magazine that acknowledges the significance of textiles as a part of everyone’s story.  We are surrounded by cloth from the cradle to the grave and by exploring our universal emotional connection to fibre we share the stories and values that mean the most to us. 
Featuring exhibitions, people, adventures and opinion, the blog is a meeting point for the Selvedge community and an entry point into the world of textiles for those looking for an original and broadening perspective.
Selvedge Magazine, 14 Milton Park Highgate London N6 5QA United Kingdom