Artist Profile: Holladay
Downy Doxey: Making Her Mark
by Laura Durham
All artists have different ways of mark-making. Whether with a brush, pen, charcoal, palette knife, or stick, the artist adds a personal touch, making the work their own. For some it is what distinguishes them sometimes it is what defines them. Van Gogh is known for fluid strokes and thick impasto. Seurat is famous for his repetitive specks that seen from the right distance create an image.
Mark-making has been an interesting progression for Downy Doxey. The most significant marks in her paintings are not paint at all. She has become well known for her large paintings of furniture that incorporate non-traditional materials as a guiding element in her work. She has used stained glass, kitchen utensils, wire hangers and childrens toys as different ways to make marks.
Doxeys most recent work takes her fascination with materials even further. She has most recently adopted thread as her new medium a traditionally domestic practice that she had never attempted before. Using raw linen as her canvas, she prints photographs onto the material and then embellish es different objects in the picture as she paints them with thread. The colorful embroidery charges her paintings with an unexpected impact as traditional technique meets modern technology.
Special Feature: Letter From the Editor
Artists Revisited: Guilty Pleasures of Being Editor or The Short Hibernation of 15 Bytes
by Shawn Rossiter
Over seven months ago, we published our June 2004 edition of 15 Bytes and then, abruptly, stopped. Contrary to what our web page read for months -- “next edition July 28th” -- after the June edition, no one got a single byte of fame. By the time July 28th had rolled around, the inertia of summer had overtaken us and was holding us down beneath its sweltering weight.
I, fearless editor of three years, retreated to the guilty pleasures of a European vacation. During the two previous summers, thanks to the ubiquity of internet cafes in Europe and the help of trusted, stateside assistant editor, Steve Coray, we had managed to publish 15 bytes on our regular six week schedule while I was away.
But damnit, this year I was busy being superdad.
Exhibition Profile: Logan
Frank McEntire: Ritual in the Making
by Alex Caldiero
The first time I saw Frank McEntire's work was back in 1986. He had a one-person museum exhibit called "Divining." In that show I was particularly impressed by his wrapped divining rods and the boxes full of "things," things at once precious and banal. My questions to him at the time were something like: "Do you perform rituals which you then translate into your work? What are these rituals?" He gave me some evasive response, not really answering my questions. Perhaps he felt his privacy invaded by this bold stranger asking about personal ritual.
As I've come into contact with his work thru the years, the same questions remain. And so recently (no longer a stranger), I asked again: "What are the rituals that inform your work and do you perform them?" This time his response was simple and direct: the very act of going to garage sales, antique and junk shops, salvage yards, and dumps "gathering and bringing the objects together" for him is the ritual. People are often asked by him to offer an object of their own to an installation, or the way they are guided thru the space by the placing of the various pieces, for Frank constitute the ritual performance.
It is ritual free of dogma and is nondenominational; ritual brought back to its primal roots: the human need to respond to the ineffable. For example, in 1992, I participated in a rtual performance that was part of his Reassemblages exhibit. The other partcipants included those gallery patrons who brought "offerings," a Reverend Canon Pastor, a dancer, a Tibetan monk, a Verger, and a poet.