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Christina McPhee
updated: 07/28/2014
website: www.christinamcphee.net
 
   
 
 
     
 
Artwork Title
art-medium
art-year
dimensions
Click thumbnails for full view:
 
at the moment it loses usefulness it becomes internally manifold (teorema 41)
 a very clever way of saying no (teorema 11)
lime kiln it was an accident (teorema 33)
reference mollusk inshallah soon (teorema 44)
supplicant and plume (teorema 19)
how can a field become visible when (teorema 29)
where one could die of strangeness (teorema 31)
baby please don’t go (teorema zero)
study for objects that do not exist (teorema 10)
hers is a lush situation her face was dancing like a flame (teorema 17)
 
Portfolio Keywords:  surreal, architecture, conceptual, language, mapping, abstract, repetition, biomorphic, diagrammatic
 
 
at the moment it loses usefulness it becomes internally manifold (teorema 41)  by Christina McPhee
at the moment it loses usefulness it becomes internally manifold (teorema 41)
ink and graphite on fabriano paper
2011
30 " x  22"  x .2" 
 a very clever way of saying no (teorema 11)  by Christina McPhee
a very clever way of saying no (teorema 11)
ink on Fabriano paper
2010
30" x  22"  x .2" 
lime kiln it was an accident (teorema 33) by Christina McPhee
lime kiln it was an accident (teorema 33)
drawing ink, india ink, acrylic ink, graphite on Arches en tout cas paper
2011
74.5" x  54"  x .2" 
reference mollusk inshallah soon (teorema 44) by Christina McPhee
reference mollusk inshallah soon (teorema 44)
graphite and ink on Rives BFK paper
2011
41.5" x  29.5"  x .2" 
supplicant and plume (teorema 19) by Christina McPhee
supplicant and plume (teorema 19)
india ink, acrylic ink and graphite on Arches CP paper
2010
72" x  44.5"  x .2" 
how can a field become visible when (teorema 29) by Christina McPhee
how can a field become visible when (teorema 29)
graphite, watercolor, colored pencil and ink on arches en tout cas paper
2010
42" x  102"  x .4" 
where one could die of strangeness (teorema 31)  by Christina McPhee
where one could die of strangeness (teorema 31)
graphite on Yupo synthetic paper
2010
24" x  20 "  x .03" 
baby please don’t go (teorema zero) by Christina McPhee
baby please don’t go (teorema zero)
graphite, graphite powder, ink and watercolor on paper
2010
42" x  105"  x .3" 
study for objects that do not exist (teorema 10)  by Christina McPhee
study for objects that do not exist (teorema 10)
graphite on paper
2010
42" x  106"  x .3" 
hers is a lush situation her face was dancing like a flame (teorema 17) by Christina McPhee
hers is a lush situation her face was dancing like a flame (teorema 17)
india ink, acrylic ink and graphite on Arches CP paper
2010
81 " x  44.5"  x .2" 

Artist Statement

(Imagine drawing a teorema. A provisional observation. What do you see in the fire and in the plume? Contemplate the probability that any hypothesis about the world's end is incorrect, add to this a desire to draw lines on the skin of your lover. Make a black paste, thin it. Apply a brush with a narrow ferrule.)

 

 At a scale larger than my body now, something arrives, diagram, intruder, angel, stranger. -- look closely, the drawing might heal or open scars? Titles adhere to scars or later sutures.  They come from writers in correspondence and conversation.  I am concerned with a process of adherence and displacement between the shards of  line in an archaeological sense,  and the silent voicing of a 'handwriting on the wall"...

Pasolini: “'unfortunately the ways of order are always infinite.' In his film TEOREMA, an angel appears to each member of five members of a household.The angel is the observing witness. He looks with a dispassionate or compassionate gaze into the eyes of each person.  Each endures a psychotic break thereafter. I take the moment of the encounter as a point of departure for new work in drawing. What if after the moment of the break, new content and new possibilities appear?  This is a kairotic moment. The drawing is a traumatic topography.

 The Teorema drawings explore the possibilities of taking on the presence of the drawing as a (transferred) subjectivity.  What if the drawing observes, as  angel? The dynamic space of the drawing on an interactive and responsive level of ‘affective presence’ is in front of the drawing-- where the observer stands. Made by observations of the interiorbalances and movements of my body in the Shed, the drawings, recursively,  evidence the shedding of drawings.

I want to see a story. The drawing might be just about to tell how hers is a lush situation, how her face was dancing like a flame. How crimson flames tied through my ears. How to explode the holes in your bones. What's the delta on these. WTF happened here. In the manifold.

Artist Bio / CV

Christina McPhee’s practice concerns topologic poetics in abstraction.Solo museum exhibitions include American University Museum, Washington, DC ; Bildmuseet, Umea, Sweden; and Freies Museum, Berlin (video retrospective). Group exhibitions include Bucharest Biennial 3, Museum of Modern Art Medellin; Headlands Center for the Arts, Los Angeles County Museum of Art, Berkeley Art Museum-Pacific Film Archive, Bucharest Biennial 3 and Documenta 12. Selected collections include Storefront for Art and Architecture, New York;  Rhizome Artbase at the New Museum; Whitney Museum of American Art-Artport;  Kemper Museum; Thresholds New Media Collection; and the Department of State Art in Embassies.  She is a MAP Fund grantee (2012) with Pamela Z. Grants include Documenta 12 Magazine Project, Kassel 2007; American Scandinavian Foundation, Finland, 2006;  Experimental Television Center, New York 2005; Umea Universitat, Sweden, 2005; Bauhaus-Universitat, Weimar 2002.

2012-14 EXHIBITIONS/EVENTS

Double Blind Studies,  “Up All Night”, SF Camerawork. July-August 2014

“Incredible Machines”  Access Gallery, Simon Fraser University, March 2014

“On the Fringe (of Fundamentals),” Storefront for Art and Architecture, New York, March 2014

“Christina McPhee : Recent Moving Image Works”  Black Hole Cinematheque, Oakland, March 2014

“Carbon Song Cycle,” live  multichannel video installation, Joe Goode Space, San Francisco, February 2014.

“Carbon Song Cycle,” Roulette, Brooklyn, November 2013.

“Four Core Chambers,” Martina Johnston Gallery, Berkeley, September-November 2013.

“Carbon Song Cycle,” Berkeley Art Museum and Pacific Film Archive,  April 2013.

SHED CUBED, 4 channel video installation and drawings, KROWSWORK, Oakland, September– October, 2012

De-Mobbing: Language, Structure, Bioform, Headlands Center for the Arts, Sausalito, January- March, 2012.

Collections III, Thresholds, Perth, Scotland, October – February 2012.

Expanded Abstraction, LACMA, July 2011 – January 2012.