The Observer

Jeff Petersen

September 26, 2002

Form & Content Merge

Eastern Oregon University

October 5 - 26, 2002

Cheryl Coon makes complex installations made from natural materials that cover walls in spreading, organic forms. Coon's Thread & Nails, 1999; detail of thread and nail objects thrown at the wall. (photo)

Coon makes complex installations made from natural materials (ashes, wax, plants) and domestic materials (thread, nails, coffee filters, paper) which cover the wall in beautiful, spreading, organic forms. Peeke makes small collages about American societal views on sex and sexuality, with a biting sense of humor. These two artists approach art-making from opposite ends of the spectrum, one inspired primarily by forms and processes, and the other by political interests and personal narratives. The show will examine the meeting-point of those old monsters, form and content.

A&E reached Coon for the following interview:

Q: What will you have on display here (number and kinds of works)?

A: Cheryl Coon: I will be presenting recent work that includes paintings, sculpture and installation using natural materials and patterns. Part of the experience of creating an installation includes arriving at the gallery and forming work that fits into the space, so I will be in the gallery for a couple of days working on installations that respond to the environment at Eastern Oregon University.

I feel very lucky to be invited by the university art department to work in the gallery in this experimental way — in a way using the gallery as a creative laboratory. Part of this process is my interaction with gallery visitors who are always welcome to come into the gallery during the installation and ask questions or make comments as the work develops. For example, during an exhibition that I worked on recently for Gallery '76, two local high school art classes visited the gallery and actually collaborated on two of the installations by creating work and interacting with the art.

I invite this kind of participation — through seeing the installation in progress — the audience develops a greater insight into the process of creating work.

What projects are you working on?

I am working on two series of paintings — one is a series of panels called "Epidermis" that have the appearance and texture of translucent skin; the other is a series of ritualistic panels made from ashes and acrylic that are very fossil-like and primordial.

As a painter, I incorporate the passage of time into my work, and each layer represents a session spent with the work. "Epidermis" depicts a certain documentation of aging — the process of drawing and having pigment embedded in the wrinkles and lifelines in my hands. In this way, life becomes a part of the work, and time spent with the work is a way to explore my own fascination with nature and other living organisms.

Recent accomplishment?

Recently I received the 2001 Carl Djerassi Honorary Fellowship for my residency at the Djerassi Resident Artist Program in Woodside, Calif. I also received a full sculpture fellowship from the Vermont Studio Center in Johnson, Vt., and an artist residency to the Villa Montalvo Program in Saratoga, Calif. In between these residencies, I traveled for two months through Thailand, Malaysia, Singapore and Indonesia.

Who are your favorite artist(s), biggest influences?

Right now I am very interested in the work of Eva Hesse. The San Francisco Museum of Modern Art recently had a retrospective of her work showing her transition from a fairly traditional painter to an innovative sculptor and installation artist. Her later work is rich with textures and translucent surfaces; she used unusual materials and formats to create mysterious and beautiful objects that resonate with natural geometry. I am also studying Wolfgang Laib, Ann Hamilton and John Cage. All three of these artists incorporate their daily lives and actions into their artwork, focusing on the act of living and on common materials and gestures.

Can you share a tip for aspiring artists in our audience?

Work hard. Life is short. I have found that dedication and commitment outshine talent every time. Also, since I have worked as a curator for so many years, I understand the exhibition process from both sides — so my advice to younger artists is to never be afraid to send your slides to galleries and other exhibition venues — it is important to believe in your own work and to send it out into the world.

What was your biggest break?

My biggest break came when I attended the MFA program at the San Francisco Art Institute and had the good fortune to work with several amazing painters and teachers who mentored me and supported my work. Through their guidance I was able to establish a connection with the Haines Gallery in San Francisco where I had my first professional exhibition a month after I graduated.

What or who was your earliest inspiration?

I grew up at the beach in San Diego — and spent so much time around the ocean. I find this experience, as well as all of the camping trips that I take to Baja California along the Sea of Cortez to go fishing and kayaking, are the most important inspiration for my life and my work.

Who is your biggest role model?

My dad taught me how to swim, sail, fish and kayak, so without a doubt he is my role model. He is an engineer who is always building things and he has an amazing work ethic. I learned a lot from watching him build boats that I use in making art — like the carpenter's rule: "measure twice, cut once."

What single word defines you — and why?

Natural. My whole life and all of my art work is defined by my love and fascination with the natural world.