DISRUPTION - Cast paper by Jarrod Beck
The cast paper pieces have a relationship to Beck's installation piece in the Big Bend Region of Texas. (See Artist's Statement below.) Beck is planning to work on the installation, known as "Disruption Regime" in the fall of 2017. In an effort to raise funds for the project, Beck and the gallery have lowered the prices of the cast paper work. The goal is to find new homes for the work.
Special pricing until 9/1/17. There will be a 25% discount on the cast paper work. A few pieces are already framed. There are many large scale pieces that are 60" x 40." The special prices start at $5,250 for this size. There are only a few smaller pieces left that are about $2,000 or less. We encourage you to take this opportunity and help fund the installation in the high desert of West Texas.
The Disruptions Recent works in cast paper
During my year in residence at Dieu Donné Papermill (NYC) I was also traveling to my land in far west Texas where I’ve been creating an installation of cast plaster in the ground. Each year heavy rains bring sediment into this desert wash and the plaster deflects the silt, creating a drawing in the ground. I would come back to New York and get to work in the wet studio, eventually developing a process of throwing thinned out pulp at a mold and then using my arm to pull and rub the pulp across the mesh of the mold. I have been looking for ways to show the desert ground-drawings without photographs, and I see these works in paper as a medium to transmit the process, rather than an image, and to shift the scale from a fleeting experience of walking five acres of land, seeing thousands of acres, and tens thousands of years in the compacted sediment in the mesas and mountains that surround the property to an experience of several square feet of color and translucency that's here now, indelibly in front of you.
Each layer of these works marks a gesture, an index of the frisson between my arm and the architectural surface of the mold. Couching these layers together gives them strength and they depend on one another for permanence. I've used pigment in the pulp to differentiate between layers of these pressed-together gestures, mixing up the figure from the ground, using tones to pull texture toward you and pushing it back with fiber. I've continued this gestural work back at my studio using pigmented cotton pulp and theatre scrim stretched across the studio. - Jarrod Beck