In ‘American Grown,’ Tiffanie Turner

In ‘American Grown,’ Tiffanie Turner Roots Out Personal Memories and U.S. Exceptionalism

︳In ‘American Grown,’ Tiffanie Turner Roots Out Personal Memories and U.S. Exceptionalism

 

In ‘American Grown,’ Tiffanie Turner Roots Out Personal Memories and U.S. Exceptionalism
“Excerpt from Still Life with flowers on a marble tabletop” (2023), paper mâché, Italian crepe paper, stain, glue, and cardboard, 29 x 30.5 x 21.5 inches. All images © Shaun Roberts, shared with permission

 

In preparing for her newest body of work, Tiffanie Turner sowed three ideas: to expand the standard shapes of her sculptures, to draw underrecognized connections, and to unearth a long-held concern about American culture.

 

An architect by training, the artist (previously) is known for her incredibly lifelike paper flowers that explore beauty standards and aging through dramatic decay and flawed growths. Her interests in recent years have largely been universal, questioning the nature of imperfection and human vanity or the impending destruction caused by the climate crisis.</span>

 

But in American Grown, Turner turns toward the personal. Two and a half years in the making, the series comprises ten massive sculptures made with the artist’s signature crepe-paper petals layered in dense masses. The flowers embody both an artistic challenge—one of the three principles behind the collection was to leave behind the circular, wall-mounted form in favor of more conical, gravity-defying constructions—and a deeply introspective look at Turner’s own life. “After spending over two years with this body of work, thinking almost every day about where this idea of the United States being ‘the greatest nation’ in the family I grew up in, I think I figured it out,” she tells Colossal, sharing that she’s circling around how American exceptionalism is deeply rooted in culture and often passed through generations.

 

The idea for this body of work came about during the first year of the Covid-19 pandemic “when her shame about being an American was at an all-time high. A cartoon of an American was swirling in her head: a styleless, gun-loving, misogynistic, God-fearing racist,” a statement says. Like her earlier pieces, Turner returned to universality as she realized that these traits are not always unique to the U.S. Instead, she used that caricature as a starting point to explore this belief in superiority and to connect to “her childhood, comparing and contrasting the standards and safeguards around the raising of her two children with memories of her grandparents and parents, focusing on the past, present, and future, in the timeframe of 1950 to 2050.”

 

In ‘American Grown,’ Tiffanie Turner Roots Out Personal Memories and U.S. Exceptionalism
“Cockscomb Rose” (2023), paper mâché, Italian crepe paper, spray paint, glue, wood rods, cardboard, and soft pastel, 45 x 36.5 x 20 inches

 

Ephemerality is inherent in Turner’s blossoms, as she preserves the fleeting state of freshness in paper. But where earlier works featured browning petals on the outer edges, those in American Grown are central. A dark rot emanates from the inside of “Excerpt from Still Life with flowers on a marble tabletop”—this piece takes its title from a Rachel Ruysch painting—while the base of the towering “Croquembouche” is laced with decay, suggesting that there’s something insidious not on the fringe but directly at the heart.

 

The final tenet of the series is discovery and connection. Turner references the two-headed “Cocksome Rose,” which resembles a fasciated strawberry of the same name, and her desire to draw similarities between disparate objects. Even if viewers don’t connect the two misshapen forms, she hopes that “they will still wonder about the piece, and perhaps find something in it that [the artist] hasn’t yet seen.”

 

American Grown will be on view from September 9 to October 21 at Eleanor Harwood Gallery in San Francisco.

 

In ‘American Grown,’ Tiffanie Turner Roots Out Personal Memories and U.S. Exceptionalism
“Originalism (December 15, 1791 – present)” (2023), Italian crepe paper, stain, glue, floral wire, chalk, vintage flag pole holder, and ribbons, 15 x 23 x 14 inches

 

In ‘American Grown,’ Tiffanie Turner Roots Out Personal Memories and U.S. Exceptionalism
“Originalism (December 15, 1791 – present)” (2023), Italian crepe paper, stain, glue, floral wire, chalk, vintage flag pole holder, and ribbons, 15 x 23 x 14 inches

 

In ‘American Grown,’ Tiffanie Turner Roots Out Personal Memories and U.S. Exceptionalism
“580085” (2023), paper mâché, Italian crepe paper, stain, glue, cardboard, wood rods, and rubber balls, 33 x 32.5 x 15 inches

 

In ‘American Grown,’ Tiffanie Turner Roots Out Personal Memories and U.S. Exceptionalism
“Byproduct/Burnt Offerings (Ranunculus)” (2022), paper mâché, Italian crepe paper, stain, glue, and Quik-Tube, 29 3/4 x 27 inches

 

“Byproduct/Burnt Offerings (Ranunculus)” (2022), paper mâché, Italian crepe paper, stain, glue, and Quik-Tube, 29 3/4 x 27 inches

 

In ‘American Grown,’ Tiffanie Turner Roots Out Personal Memories and U.S. Exceptionalism
“Croquembouche” (2022), Italian crepe paper, stain, glue, floral wire, chalk, chicken egg shells, hat stand, metal platter on pedestal, and epoxy adhesive, 26 1/2 x 15 inches

 

In ‘American Grown,’ Tiffanie Turner Roots Out Personal Memories and U.S. Exceptionalism
“Did I Win?” (2023), paper mâché, Italian crepe paper, stain, glue, steel aerialist hoop, cardboard, and plastic ball, 50 x 49 x 22 inches. Photo by the artist,

 

In ‘American Grown,’ Tiffanie Turner Roots Out Personal Memories and U.S. Exceptionalism
“The (Brown) Crown” (2023), paper mâché, Italian crepe paper, stain, glue, wood rods, wood skewers, cardboard mailing tubes, basketball hoop frame, misc. hardware bits, bungee cords, and velcro, 38 x 32 x 38.5 inches

 

In ‘American Grown,’ Tiffanie Turner Roots Out Personal Memories and U.S. Exceptionalism
Detail of “The (Brown) Crown” (2023), paper mâché, Italian crepe paper, stain, glue, wood rods, wood skewers, cardboard mailing tubes, basketball hoop frame, misc. hardware bits, bungee cords, and velcro, 38 x 32 x 38.5 inches

 

In ‘American Grown,’ Tiffanie Turner Roots Out Personal Memories and U.S. Exceptionalism
“Soup to Nuts” (2023), paper mâché, Italian crepe paper, stain, glue, wood rods, cardboard, and ribbons, 36 x 46 x 17 inches

 

In ‘American Grown,’ Tiffanie Turner Roots Out Personal Memories and U.S. Exceptionalism
A work-in-progress image of “IIndurate (of a size that is remarkable)” (2023), paper mâché, Sonotube, Italian crepe paper, stain, glue, cardboard, basketball hoop, metal rods, metal bits, wood rods, and wood strips, 46 x 28.5 x 57 inches. Photo by the artist

 

Om onvervangbaar te zijn, moet je altijd anders zijn.
Er zijn fascinerende beelden hier, en de fascinerende dag van samen!  xo
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Per essere insostituibili bisogna sempre essere diverso.
Ci sono immagini affascinanti qui, e l’affascinante giornata di insieme!  xo KanikaChic

苗栗客家文學園遊客中心將自然、與文化環境融合

苗栗客家文學園遊客中心將自然、與文化環境融合

    該項目旨在將自然環境與文化環境融合,由當地客家聚落和礦業遺產共同塑造出苗栗客家文學園遊客中心使其成為觀景的媒介,並將遊客融入當地活動。     遊客中心位於苗栗縣公館鎮客家文學園內,該地塊由當地客家聚落和礦業遺產共同塑造。中心坐落在後壟溪谷,視野開闊,設有一條通往群山的櫻花步道,並可直接眺望河對岸歷史悠久的礦坑。該項目旨在將自然環境與文化環境融合。         建築盡量減少空間體量,強調週邊環境,使其成為觀景的媒介,並將遊客融入當地活動。設計摒棄了對客家文化的傳統解讀,而是從更廣闊的尺度分析場地,並以兩條主軸線為主導,分別面向景觀和文化肌理。一條軸線與山巒和山谷平行,延伸至福德村,為遊客提供開闊的視野,同時巧妙地將他們引向聚落。另一條軸線沿著夏至的太陽路徑,連接歷史礦區與西北方向的未來文學博物館,成為地面層的主要交通流線。         建築由一個大屋頂和多個較小的幾何體量構成,強化了視線和動線的軸向聯繫,同時滿足了功能需求。其形態呼應了廣闊的自然和歷史文脈,並利用結構的方向性,謙遜地展現苗栗的自然之美。       建築軸線透過景觀步道、連接室內空間的半室外走廊以及延伸回室外的過渡通道連接起來,使空氣、光線、風和現有生態環境自由流通。建築中心的屋頂下方是一個大跨距的半室外廣場,為公共活動和自發性活動創造了一個開放的聚集空間。橫跨廣場的三角桁架系統不僅體現了軸線的幾何關係,也克服了大跨距帶來的結構挑戰。         材料性巧妙地詮釋了客家文化。板狀混凝土令人聯想到堆疊石牆的堅固,而懸掛的陶土磚影壁則喚起了傳統客家民宅的觸覺記憶。影壁上的穿孔過濾著沿著軸線移動的陽光,強調了自然的作用,並展現了源自場地自身文化、景觀和日常活動的美感。

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