Categories
drawing exhibition painting sculpture video installation

Impression | Abdruck

Felicia Glidden at Kunsthaus Caserne January 2020

Katrin Seglitz

Speech for the vernissage of the exhibition “Impression/Abdruck” by Felicia Glidden on 17.1.2020
at the Kunsthaus Caserne in Friedrichshafen Fallenbrunnen

When you come into this room, you are impressed by the large-format works hanging here. Impression/Printing is what Felicia called the exhibition, and both words have a courtyard of meaning: In Impression, we hear the press, pressing, printing, pressing and pressing and pressing. Terms that have to do with printing and printing processes. And the question of what makes an impression.
This is the question Felicia asks herself, this is the question she pursues experimentally with her works, the question of what impresses her, impresses her so much that she has to look for an expression for it.
She grew up in Minneapolis and lived in the city until she was 18. After that she went to Duluth to study. She studied math and engineering and took courses in visual art and dance. Duluth is located at the Upper Lake, one of the three huge lakes in the north of the USA, on the border with Canada.
Duluth has a large harbour, from here ships sail across the St. Lawrence Seaway into the Atlantic Ocean. Raw materials are shipped in Duluth: iron ore, grain, coal, oil and wood. The city itself, with 86,000 inhabitants, is not a large city, only slightly larger than Friedrichshafen.
In her 3rd year of study Felicia turned completely to art.
She moved into an old wooden house in the middle of the forest, near the lake, one hour from Duluth. She set up a studio in the garage, heated with wood, made art and earned the money she needed to live by renovating houses and boats. She has lived in and with nature, an experience that she still carries today. And shapes.

Felicia Glidden at Kunsthaus Caserne January 2020


Which brings us back to printing and the impression that something leaves behind. Even before she got to know waste separation in Germany, she separated garbage when she lived in the forest. For the past two years, packaging has become more and more the focus of her attention.
Packaging is also designed and produced. They serve to protect food and products. Are opened or torn open, torn down and removed. They have a serving function, are usually overlooked.
Felicia makes them visible by unfolding cardboard boxes, placing them under paper and rubbing them with graphite to create an imprint. She has sewn unfolded cardboard boxes and packaging together. And made trash quilts from plastic bags.

Fix plastic, thread, oil paint 230 x 110 cm 2020


In the beginning, the discovery of the production of plastics was celebrated. The success led to mass production. For a long time, we have felt oppressed and threatened by the flood of plastic in every conceivable form.
And yet there are plastics that we wish would survive us. In 1856, celluloid was developed, and from 1870 it was marketed and further developed as a carrier material for films. In 1951, production was discontinued because celluloid is highly inflammable. In a dry environment, the water content decreases and celluloid becomes an explosive that can ignite spontaneously.
Celluloid was replaced by a transparent film of tri-acetate or polyester coated with a photo emulsion. Stripes from the age of analogue photography can still be found in many households. Also with Felicia.
When the cellar of Felicia and Alain was flooded during a flood, it became clear that tri-acetate and polyester also spoil when it gets wet. The slides in her archive show not only the captured moments but also abstract landscapes of spreading mould. Felicia has made a memory skin from the destroyed photos, a memory skin. And turned them into an allegory …of impermanence.
Felicia: “Time is like a flood that covers and bleaches out what was once present.”

Memory Skin I, remnants of photographs, thread 70 x 110 cm 2018


Plastics are used for packaging, for protecting things, but also as carriers of memories. In this exhibition, Felicia is concerned with making their materiality visible and the forms that are in circulation.
This is one aspect, one part of her works exhibited here. The other aspect is the making visible of emotional impressions. Andy Dunhill impressed her. Felicia dedicated a book to him with frottages. The word frottage comes from the French word frotter – to rub. A procedure that Max Ernst discovered and developed from 1925 onwards. In frottage, the surface structure of an object or material is transferred to a piece of paper by rubbing it with a pencil. Frottage is an artistic stylistic device for the integration of found structures.
Andy was also an artist, sculptor and draftsman. We were together in Spetzgart, at the artist exchange Salem2Salem, where German and American artists meet every summer, sometimes in Salem Castle, sometimes in Salem Art Works in New York State. Felicia had known Andy for a long time, from America, from the work at Franconia Sculpture Park. I only met him in Spetzgart and was impressed by his expressiveness. He worked with black ink and pinned the sketches, which were created in rapid succession, to the walls of his room.
I looked at them through the open window, saw him sitting at his desk and drawing, and thought “Wow! There’s a new Picasso. Concentrated power, clenched fists, chips and annoying flies, his sketches revealed great skill, elemental strength and: humor. He was British and came to America because Obama had been elected. For Felicia, he was a fellow artist whose judgment was sincere. When he said something, it was an honest critic, an honest opinion, he did not mince his words.
His death was a blow. His legacy is his art. And his way of working: With strength, skill and humor. Using frottage as a stylistic device to integrate other structures, Felicia thematizes influence and impressions by other people.

Trashquilt Print 2 detail graphite on paper 280 x 150 cm 2016


What impresses us?
Who impresses us? What gets under your skin?
The philosopher Schelling wrote 200 years ago that conscious activity must combine with an unconscious power in order to create a work of art.
Felicia always works with dream images and diary notes. Draws letters and words from these dream pictures in the paint she applies to the cardboard boxes before making prints.
She has called a series of trash quilts Tête du Travers. Tête du Travers is the name of the mountain against which a pilot piloted a plane with 149 passengers in 2015. Tête means head. Le travers is the mistake or the cross. Esprit de travers means head. Against a mountain called Querkopf, a Querkopf steered an airplane and took many people with him to his death.
What was going on in the pilot’s head?
Five days later, under the impression of the crash, Felicia wrote a text. Parts of this text appear on her trash quilt prints.
Can this process become an allegory for our own behaviour? What goes on in our heads when we harm other people, other generations, through our consumption, the unrestrained consumption of raw materials?
For Felicia, the accident at the Tête du Travers has become linked to Trump’s election campaign. His behaviour is similar to that of the sick pilot. One has steered a plane into a mountain, another is about to drive a whole country into a wall. And half the world.
His words: trash talk. Lies, nicely packed.

Felicia Glidden oil, ink on paper 275 x 150 cm 2017


Believe me. Trust me.
The contrast between the self-expression of this show-off and a simple life in the woods is great. “Walden” is the name of Thoreau’s book, which has become a cult book has become. It also says: “Why this desperate pursuit of success, especially in such daring ventures? If a man cannot keep up with his comrades, it is perhaps because he hears another drummer. Let him march to the music he hears.”
Artists follow their intuition. They encourage others through their art to hear what becomes loud in them when they are alone and silent. When they are in the forest. Or walking along the lake. By the Upper Lake near Duluth. Or by Lake Constance.
The winters in Duluth are cold. So cold that the Upper Lake freezes over. There are movies that show the ice moving from the lake to the land. It crunches, threatening houses and people. Nature is threatening. It can be threatening. Threatening like people. Threatening like their words.
Felicia has made bricks of metal and paper that can be used to build walls. But she didn’t build a wall. The bricks are in a pile on the stage. Fragments of a demarcating attitude that Felicia counters with something else: …the dancing movement she uses to run graphite pencils across the paper. In doing so, she expresses a different energy, sweeping away the rigidity, congealment, iciness and icing that has been expressed in American politics in recent years.

Antarctica Archives 1954 – 62, video projection, handmade paper, steel, slide film, thread, plastic, paint dimensions variable 2020


In the summer of 2019, Felicia worked with Cassandra in Salem. A series of impressive pictures has been created. Kassandra came from Troy and warned of the downfall of her city. And yet she was not heard. In her Cassandra pictures, Felicia has incorporated headlines and articles about America under the unpredictable leadership of Trump.
And she has developed the motif of the tilting house, also after a dream in which she heard the words, shore it up! The house must be supported! The house can be understood as a symbol for America and its current government, but also for our planet.

Felicia Glidden drawings at Kunsthaus Caserne

Shortly before the First World War, Jan van Hoddis wrote the poem Weltende:

The citizen’s hat flies off the pointy head,
The air is filled with the sound of screaming.
Roofers crash and split
And on the coasts – one reads – the tide is rising.

The storm is here, the wild seas are honking
Ashore to crush big dams.
Most people have a cold.
Railroads fall off bridges.

Jan van Hoddis combines the banal and the apocalyptic with a light hand. The sniffles and the feeling of an existential threat. He has succeeded in creating an image for his time. This is what we look for when we make art. And we look at it. We look for an expression for what gets under our skin. In this exhibition, Felicia shows us what drives her, what has influenced and impressed her. Let yourself be impressed!

Link to original text in German

Link to more images from the exhibtion

We need to shore this up (red) oil on plastic (mounted on board) 155 x 100 cm 2019

Categories
collaboration performance -live video installation

ProjekTraum Reservoir


Projektraum Reservoir – 60 Jahre Wasserwerk ABRW (Au-Balgach-Rebstein-Widnau) Hümpeler, Balgach, Switzerland Three channel video and live and electronic performance, 29:00 minutes 2016

Felicia Glidden
Video, Photography, Paintings

Alain Wozniak
Artistic Director, Composition, Clarinet, Bass Clarinet, Flute, Electronic Music

Philippe Wozniak
Contrabass, Electronic Bass

Anna Katharina Aichroth
Berimbau, Capoeira Angola, Percussion

Four communities in Switzerland were celebrating 60 years of their water reservoir and we were invited to create a sound and video installation. The program was performed 6 times. Between the 1/2 hour programs, I was projecting historic and more current photos of the building and maintenance of the reservoir. The imagery includes all forms of water, paintings and photographs from my visual archives.

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Categories
sculpture sound video installation

Between Two Rivers I, II & III


Between Two Rivers III Steel, handmade paper, two channel video projection, sound 13:56 minutes dimensions variable 2014

This was in the exhibition Unterströmungen (Undercurrents) at Galerie Bagnato in Oberdorf, Konstanz Germany September 2014.  Both channels play the same imagery, but not simultaneously. The primary visual thread through this work is an image of the movement of electrical wires. These are layered with images of water. The sounds are gathered from the streets of New York City, the shores of lake superior, and text from dreams I read where water (in one form or another) is mentioned. There are 60 individual paper and steel “bricks” which are not attached to each other.

Finally, in Felicia Glidden’s videos, the different translation methods of dreams converges and creates a work of art of spoken text, music, cinematic images of dream events, as well as natural and ambient noises. This is combined with some complex room installations. The result is not a replica of the dream, but the dream analogous sphere, as shown in the video “Between Two Rivers III” – the recording of a multimedia installation. Here the media used, which is continually broken up by the architecture itself, accompanies, comments on and contradicts each other. It creates an open connecting room for associations. In One and a half years of work, Felicia Glidden has created a wall for film projections. It consists of hundreds of cubes. Each is made of a metal skeleton which has been coated with hand-made paper. These cubes are now arranged in different formations – atop and next to each other, some of them are open. This wall acts as a breakwater for the film projected on it, which shows water surfaces, because water is in the dream sequence as described by the voice. The video “Between Two Rivers II” becomes the mosaic – ethereal because it denies the clear sense of tracking.

Felicia Glidden operates an artistic research, but it is not a dream interpretation that precisely robs the semi-conscious their essence. In Felicia Glidden’s art the tangible elements made of dreams retain their aura – the schemes of an immeasurable dark zone, with which they are associated.

-Harald Ruppert 2016    Full Text in German

Between Two Rivers III
Sound Script 13:56 Minutes

Low pulse from bells resonating. Recorded  in Weissenau courtyard (runs though entire piece)
Cow bell recorded in the French mountains
Felicia: (voice over) Lying on a piece of paper on top of the water.
Cow bell continues
F: They are digging with a back hoe. There is a bank of water next to the garage.
Street sounds from New York City recorded in Midtown Manhattan
F: I splash my hands into it to get some of it to drain.
Street sounds continues
Birds singing, recorded in Switzerland forest near Schaffhausen
Conversations on the street, brief music, owls and birds call
F: I swim in the slush water.
Wheels from a suitcase on the sidewalk passes by, birds chirping
F: I am wondering how I will get the oil out.
Christmas music, street sounds, whistles, people on the street, bus, birds
F: Why have I returned three times when my first escape was clean away?
Bus driver speaking
F: The view is from above.
Driver assistant “Where you headed?“ F “Greenbelt“ DA: “Oh the bus isn‘t here yet“
F: I see rice patties floating. They are divided into squares.
Still floating, but separated into squares, near the shore.
Bells recorded at Schloss Salem, Bus idling, Bus Driver “This south Baltimore“
Bell strike 12 times
F: Bubbling up rapidly. I ask if we have gotten the drain, apparently, we had partially removed it.
One drain is clear.
F: Another scene I am swimming freely in the water.
Swimming which feels like flying.
Don‘t take up too much space as it’s already tight enough.
I turn the car around, and that’s when I found the abandoned homestead
Crickets recorded in Maryland
Jazz improvisation recorded in San Marco Plaza, Venice
F: I find the room again, but enter from a different door.
F: Soon I am trapped in a corner trying to be small.
Libertango by Astro Piazzolla recorded in San Marco Plaza, Venice
F: A man goes up to the edge of the ice and acts like he’s holding it. Suddenly he‘s in the water, and the water is everywhere.
Libertango continues, crickets, people in the courtyard
Alain Wozniak bartering with a street vendor ”no no no no no one…“
Bells of Salem, fountain, vehicle drives by
F: There is a half door. A black woman walks up to me and starts talking song lyrics to me. I can‘t remember the song but rather the meaning.
I tried to stop her, but she went on to finish the entire lyric.
F: We get to the dock and there is a busy restaurant.
Accapella blues singing recorded in the New York City Subway 14th street station “Just don‘t let it change your mind“
F: I am impatient as I try to fix the boat motor.
Singing continues, “he didn’t have no shoes, for a long time…just me and you, just a long time, don‘t you know no other man, don‘t you let it don‘t let it change your mind, aha, yeah ha whoa yeaha,“
baby cries
Low pulse from bells resonating.

Felicia Glidden 30.08.2014


Ravelation is an original work inspired by Ravel, composed and performed by Alain Wozniak in the Galerie Bagnato for Kunstnacht Konstanz in September 2014 at the solo exhibition Unterströmungen by Felicia Glidden.

Review (German online link)   PDF : Galerie Bagnato zeigt Träume
Catalog (German PDF) FELICIA_KATALOG
Catalog Essay (English PDF) by Dr. Johann-Peter Regelmann
Between Two Rivers II

The second exhibition of Between Two Rivers was at Montgomery College in Maryland for an artist in residency in 2012, curated by Judy Stone. Students were invited to participate by adding their dreams Using japanese paper, glue and markers, and then rebuild the structure in one area of the sculpture.  I also recorded some of them telling their dreams and each day of the residency, I would add their voices to an mp3 player attached to headphones. In the three week residency I saw 16 classes of art students. The installation had three separate video projections with one stereo sound 29:00 Minutes. There are 600 individual “bricks” in the exhibition. The two visual threads in the videos are clouds and roads.

Between Two Rivers I

F Glidden sculpture
Felicia Glidden steel, handmade paper, single channel video projection, stereo sound, 34 min, looped, dimensions variable 2012

Solo exhibition at Hillyer Art Space in Washington DC. The visual thread through this work is an video taken from an airplane above the clouds over Switzerland. The dreams included in the sound score are all recorded in my 2012 journal. The shadow drawings on the wall were an integral part of the installation. On the floor lies a 2 meter (6 ft) square handmade sheet of paper on which sits a chaotically stacked pile of “bricks” (paper and steel) There are 350 individual “bricks” (19 x 8 x 9 cm) (7.5 x 3.35 x 3.5 in.)  in the exhibition.

Felicia Glidden steel, handmade paper, three channel video projection, stereo sound, 29 min, looped, dimensions variable 2012
Felicia Glidden steel, handmade paper, single channel video projection, stereo sound, 34 min, looped, dimensions variable 2012

Felicia Glidden steel, handmade paper, three channel video projection, stereo sound, 29 min, looped, dimensions variable 2012
Felicia Glidden steel, handmade paper, single channel video projection, stereo sound, 34 min, looped, dimensions variable 2012

This video clip includes sound from the Friedrichshafen Youth Wind Orchestra tuning, as well as an original composition on piano by Christian Von Der Goltz, 2010.

Categories
sculpture video installation

Attic

This was a test piece which was never fully realized as an exhibited installation.  I had envisioned floating a paper house about a foot above the ground from an impossibly small wire crane which was on the edge of breaking.