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Windows, doors, and archways literally and conceptually frame our worldview.
Lizzie Green’s exhibition Between the Front Door and the Kitchen Sink aims to cultivate an experience of exploration and yearning that is challenged by a sense of visceral discomfort. Abstract representational quilts, free-standing pieced works, and short form prose are interconnected through the repeated use of pattern and texture. The recurrent visual elements in each piece become the key to the viewer mapping psychological connections in the larger narrative of the work.
The quilts and sculptures in this exhibition mimic the way we encounter pattern and color in our everyday. The density and saturation of textiles amplify pattern’s effect on our emotions and memory. Excessive pattern and complimentary color connect each of the images in the works, asking viewers to recognize similarities between them. Accompanying fictional writings serve as the guides to the narratives of these spaces, putting viewers into the shoes of an intruder propelled by curiosity and discovery. The exhibition highlights our contemplative state of being and the way we desire to be where we are not.
Lizzie Green, based in Kansas City, MO, is a multimedia installation artist, rooted in and inspired by the textile processes and practices. Raised in Chicago by two artists, she was introduced to a creative lifestyle at a young age. Her latest body of work uses re-purposed textiles to fabricate quilts and soft sculpture installation to explore topics of nostalgia, familiarity and sense of home in an urban environment. Green is currently is a 2017 BFA candidate in Fiber at the Kansas City Art Institute.
Through layering texture, pattern, and material, I piece together quilts, sculpture, and installations that employ a controlled chaos in their growth, fueled simply by a need to expand. I assemble my work like a map-following unconventional routes not motivated by efficiency, but rather a yearning to find the end.
The history of a material is found on its surface, reminiscent of a time and place. My work consists of quilts and dimensional pieces that sprawl and sprout out of traditional forms, transforming a space into one of my own invention. I gather and accumulate fabrics from thrift stores, like bed sheets and clothing, for their outdated patterns and worn quality, which evoke a sense of nostalgia. The character of each material informs the honesty and sincerity that is important to my works and in my practice. In this effort to be as transparent as possible I apply a raw aesthetic to my quilts, often leaving the edges unfinished. While the personal history of each material is not always clearly evident in the final work, its embedded inherent narrative is critical to my investigation of the viewer’s subjective relationship to material.
Thresholds act as framing devices that crop selected sections from an image, fragmenting the viewer’s experience of the whole. The use of domestic interior imagery creates a space where viewers enter and make associations and discoveries. Thresholds act as temptation to move through each space at will. I am interest in making viewers self-aware of how they occupy a space, aware of what stories they might attach to images of spaces based on the patterns and textures that fill them. The act of concealing and revealing, physically as well as conceptually, guides viewers to investigate further into each depiction and narratives the work maps out. Like constructing a puzzle, an answer might be provided in one moment, then contradicted in the next, furthering the chain of questioning and investigation.