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THEATER
Heidi Stillman & Looking Glass at Arden
Born
Yesterday Reborn in Philly
Azuka’s
“An Artist’s Workshop”
Terror at the White
House
ART
Components
of The Big Nothing
The
City of Murals
Moore
College Senior Show
NY
Times Art Critic William Zimmer at NAP
Fleisher
Challenge - Interdisciplinary Outlet
Highwire
Gallery - The Shovel Show
Photographer
Mike Mergen
Secret
Hangerbenderman: Abraham Rothblatt
MUSIC
The Decemberists at
TLA
Staying Up Late with
Stargazer Lily
Schacter and
Johnson: Jazz Improv
The Blue Journey of Monica
McIntyre
Mickey Roker at
Ortlieb's Jazzhaus
Eric Alexander at Chris'
Jazz Cafe
POETRY & PROSE
Open Hand
by
Frank Walsh Taxidermy
Becomes You by Maria DelVecchia
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Iconoclast: An Interview with Fabric
Sculptor and Installation Artist J. Lauren McCall
by
Jeffrey W. Ackler
These past few weeks have been busy for J. Lauren McCall as she has
prepared for her last exhibition as a student at The Pennsylvania
Academy of Fine Arts. The labor was worth it. She was awarded a travel
scholarship to Europe for two months this fall.
Her work is displayed at the PAFA Museum, on Broad and Cherry
Streets, where the Annual Student Exhibition runs through June 8.
McCall is an iconoclast. Just as the ancient Greeks used this word to
describe persons who destroyed sacred images, this word defines the
manner in which McCall defies tradition and popular ideas.
Born in California, McCall currently resides only blocks away from
the Philadelphia Museum of Art and the Rodin Museum, creating
cutting-edge fabric art that bends the traditional definitions of
drawing and sculpture.
In another way, this may be a misnomer. McCall has no intention to
destroy the sacred. In fact religious and philosophical ideas play a
significant role in her work. Her sculptures are created using the
theories of drawing, the tools of craftsmanship, and the philosophies of
the ancient Hindus and Buddhists. The work not only defies traditional
methods and ideas, it defies definition altogether.
McCall labels her pieces with vermilion titles: "The Red Line
Installation," "The Red Circle Project," and
"Rosebud."
"I guess it all corresponds to point that I decided I was an
artist. For a long time I avoided the color red because of the boldness
of the color. When I decided that I was an artist, I embraced the color
red and that's about the same time that all the sewing started.
"It's funny, because my mom told me that when I was really
little I had these bright red Mary-Jane shoes, it started making me
think about being born who you are. When you're young, you are
always asking questions and very outgoing, then you become an adolescent
and become introspective, and then you come out of that. Like going back
to the child's mind.
"The first time I ever created art was when I was five years old
and I made a cross-stitch ornament probably around Christmas time."
It wasn't until sixteen years later that McCall realized her natural
abilities were the defining characteristic in her life, and this
fulfilling decision to be an artist fused with her identity, her veins
and arteries pumping red. She speaks about sewing and sculpture in
philosophical terms: "Sewing is a delicate balance of in and out,
give and take. A seam will not hold without two threads."
McCall manipulates this balance when she creates what she calls
"Sewing Machine Drawings." These are forms created on paper or
fabric with a single line, a stitch that builds in varying forms
creating protrusions. In her installation work, she adopts a similar
view of balance. "The line is an illusion of form, there is no
structure other than that which the line is connected to. The form is
created in the line by the space that the installation is created
in."
McCall desires for her art to help her connect with the people in the
world just as the top stitch connects with the bottom. This desire came
to fruition last autumn when she began The Red Circle Project. This
project requires people to connect with her to participate.
A long-term project for McCall, The Red Circle Project grew from
early reactions to her work. "People kept seeing that I was working
on fabric and said things like, 'You should go into fashion'," said
McCall. She took that cue and started the project, where the participant
supplies a shirt, a dollar and a return envelope. McCall returns the
shirt with an embroidered red circle and her signature, hand-stitched.
Each shirt receives a consecutive number illustrating the sequence of
connection.
The project has taken off, reaching as far as Paris, France, where
McCall intends to visit the participant in the fall when she takes her
European tour. The result of this ongoing project will be a completed
website and a book documenting the project with a collection of photos
and letters from those who are involved.
Information on McCall can be found at the developing site, www.theredcircleproject.com.
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NEWS
Arts
and Culture Face the Mayor’s Veto
The
Barnes Finds Its Place
SPOKEN WORD
InterAct's
Writing Aloud
Art
Sanctuary Resident Artist Trapeta Mayson
Daughters
of the Diaspora
Alicia
McCarthy & Ben Smith: Artist Comedians
LITERATURE
James
Alan McPherson at Kelly Writer's House
Author
Lawrence Richette's Novel, The Secret Family
Notes
on Author Faith Adiele
CULTURE
Philly
Reuses It!
Shoba Sharma's
Naatya Dance Ensemble
Passional:
Deliciously Illicit
The
Photographic Art of David Lawrence
Art
Sanctuary Opened Center & New Play
Jay
Schwartz's Secret Cinema
COLUMNS
A Modern Girl's Guide
to Philadelphia
Fabric Sculptor J. Lauren
McCall
[UNDERGROUND SWELL]
It is Peace of Mind: Ananda
Ashram
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