Vignette: Helen Payne

Josh Jenkins · March 22, 2017

“…Our identities and trajectories are shaped by tests and how testing is a reflection of power.” — Helen Payne

Helen Payne’s ink wash drawings occupy a fluid space between representational and non-representational, ink washes built upon a solid draughtsmenship yet rendered with great immediacy. As if each one took only minutes to complete, the artist working nimbly with her brush with an economy of effort and heightened deliberation.

The drawings are part of a series that attempts to take a fresh perspective on questions if identity and the metrics of human existence. “I work in the studio creating objects and images that help me process and understand how the world works,” explains Payne. “These days, I am thinking about ways we measure and monetize our bodies and minds. My current work, The ABCs of the Weight of Measures, is an installation about how we measure and mismeasure ourselves and how what is the messiest and intensely private is often the focus of measurement. Each letter of the alphabet is the start of an acronym for a common test of human measurement, i.e. A is for APGAR; B is for BMI, and so on. The ABC of the Weight of Measures examines how our identities and trajectories are shaped by tests and how testing is a reflection of power.”

"B is for BMI, Yr width to yr girth" by Helen Payne, 11x14in, ink on paper (2016) $150 | BUY NOW — *"B is for BMI, Yr width to yr girth" by Helen Payne, 11x14in, ink on paper (2016) $150 | BUY NOW*

Although Payne does not specifically frame the work as self-portrait or autobiography, introspection feels at the root of her observations, although the academic motif enables her to expand the idea to a universal context to which anyone might be able to relate. There is neat balance of the intellectual and populism in the belief that we are only able to understand ourselves through such often arbitrary and artificial constructs. The commentary Payne seems to offering is not necessarily comforting, but it is a healthy challenge to our programmed notions of self.

Hometown: Jamestown, Rhode Island
Education: MFA Candidate at University of Louisville, Louisville, KY, 2019;
BA, West Virginia University, Morgantown, WV, 2000;
With additional studies at: The Maryland Institute, College of Art, Baltimore, MD, The Slade School of Fine Art, University College London, UK. Jack Kerouac School of Disembodied Poetics, Naropa Institute, Boulder, CO
Website: http://www.helenpayne.us

"E is for EQ, I love you" by Helen Payne, 11x14in, ink on paper (2016) $15 | BUY NOW — *"E is for EQ, I love you" by Helen Payne, 11x14in, ink on paper (2016) $15 | BUY NOW*

"Title F is for FICO, but I can't pay the rent" by Helen Payne, 11x14in, ink on paper (2016) $15 | BUY NOW — *"Title F is for FICO, but I can't pay the rent" by Helen Payne, 11x14in, ink on paper (2016) $15 | BUY NOW*

"A is for APGAR, You were bluish at birth" by Helen Payne, 11x14in, ink on paper (2016) $150 | BUY NOW — *"A is for APGAR, You were bluish at birth" by Helen Payne, 11x14in, ink on paper (2016) $150 | BUY NOW*

"W is WAIS, Wr melting, we two" by Helen Payne, 11x14in, ink on paper (2016) $15| BUY NOW — *"W is WAIS, Wr melting, we two" by Helen Payne, 11x14in, ink on paper (2016) $15| BUY NOW*

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Installation, Mixed Media, Painting

Vignette: Lennon Michalski

Josh Jenkins · February 3, 2017

*"Ghost Bike" Installation by Lennon Michalski (2016)*

In a body of work entitled Ghost Bike, Lennon Michalski explores the relationship between man and machine, expressing a complex array of themes, most importantly, the tyranny of technology and the fragility of the human form.

“Ghost Bike takes a specific look at Motorcycles, considering the uniqueness that describes the machine, the man that chooses to indulge in that machine, and the nature of their relationship,” says Michalski. “The imagery in the series considers motorcycle accidents to represent their dangerous cultural association. I specifically chose the motorcycle, the imagery, and popular icons to reflect my personal engagement with this idea. My grandfather was killed on a motorcycle, and this has largely inspired these pieces in the hopes of bringing attention to the motorcycle to provide an understanding of their own distinctive culture.”

"Wrecked Bike" by Lennon Michalski, 36 x 48 x 84 in, Honda Motorcycle and paint (2016) | Photograph by Brian Campbell — *"Wrecked Bike"* *by Lennon Michalski, 36 x 48 x 84 in, Honda Motorcycle and paint (2016) | Photograph by Brian Campbell*

*Michalski in his studio | Photograph by Adam Brester*

“Even when these tragedies strike, society often places blame on the cyclist, for they, have willingly put them selves in harm’s way. Motorcycles are largely considered unsafe and rebellious in the eyes of the public because of the sense of vulnerability and danger associated with motorcycles. In an effort to define the broad spectrum of this machine’s interaction with the human condition, I sought to understand why so many individuals crave to connect with it. I realized that engagement with motorcycles cultivated an undeniable sense of community. Motorcyclists feel passionately about their investment in this machine, creating a strong bond between, not only the machine and its owner, but also everyone who rides. In order to incorporate this idea of community, I created works that also represent this aspect of motorcycle culture. I examine the documentation of a group of cyclists traveling cross-country to pay tribute to the fallen. Rather than viewing the death of the biker as a careless rebel, he is considered a fallen hero, who deserves the greatest of respect. Within the motorcycle community there is boundless devotion, which allows for the machine to act as a tool in eliciting genuine human interaction.”

*"Wreck" by Lennon Michalski, 72 x 108 in, water based pigment and mixed medium on canvas (2016)*

In his paintings, Michalski often uses his hands directly in applying the medium, building transparent layers that evoke a passage of time. “My paintings are not objects assembled by machines or other individuals; I develop a bond and communicate through the development of each work. This technique is based on a physical language; by pushing the paint with my hands, I am infusing my energy into the gestures. I learn something new from each piece allowing my process to open doors I would have never thought to walk through. Through the creation of digital work, paintings, and sculpture, I hope to bring attention to the motorcyclist so that the sense of community motorcycle culture creates can continue to thrive. The motorcycle acts as a metaphor to represent the motorcyclist himself, with the engine acting as the heart of the individual, and the community. While many have fallen victim to the unpredictability of this machine, it uniquely acts as a tool to cultivate relationships, activate commitment, and instill a sense of community.”

Michalski also just self published a children's book called "How Penguins Save Television," a story that explores what it means for society as it attempts to evolve with the aid of science and innovation. The book engages children with the natural world around them through technological modifications, such as the jetpack.

Since 2008 Michalski has been an Instructor of Digital Media, Drawing, and 2D Design at the University of Kentucky.

Hometown: Lexington, Kentucky
Age: 36
Education: BFA in Painting, Eastern Kentucky University 2004; MFA in Painting and Digital Media, University of Colorado at Boulder, 2006
Website: http://www.lennonmichalski.com

*"Stoplights" by Lennon Michalski, 72 x 108 in, water based pigment and mix medium on canvas (2016)*

*"Heart" by Lennon Michalski, 72 x 108 in, water based pigment and mixed medium on canvas (2016)*

boulder

Vignette: Helen Payne

“…Our identities and trajectories are shaped by tests and how testing is a reflection of power.” — Helen Payne

Vignette: Lennon Michalski