Artists reveal ideas in three-dimension
by Brian Shults, se news editor

    Conspicuous three-dimensional art hangs from the ceiling, lines the walls and inhabits the floor throughout the Art Corridor II in SE Campus’ Containing SPACE.

    “Objects contain, activate, absorb and transform the space in which they physically exist. Each artist’s work speaks in an individual voice of materiality, scale and facade,” John Frost, curator, said.

    Displaying their work through Thanksgiving, artists Dana Provence of Denton, SE instructor of electronic imaging and ceramics, Steven Price and Cam Schoepp of Fort Worth each approach their 3-D art in varying fashions.

    Using dense materials such as lead, concrete and steel Schoepp constructed his art with a self-described “ominous and dark sense of humor.”

    “Art isn’t about a surface. It is about a happening from beginning to end. The focus should not be getting from point A to B as fast as possible, but with as much pleasure as possible,” he said.

    One particular piece is a freestanding column entitled Tower 69. At about six feet tall, strategically placed concrete balls maintain the balls above in a triad form. Dark winding steel strips wrap around the concrete spheres from top to bottom.

    Schoepp’s most interesting work is probably Night Mirror I, II and III. The three pieces are each a variation of the previous one, resembling window frames with panes composed of reflective steel and lead sectionals.

    “I have always been intrigued by the way windows at night reflect your own image. People tend to avoid windows at night because the others can see you from inside, but you can’t see them,” he said.

    Provence, a recent graduate of the University of North Texas, began teaching at SE Campus this semester. His art is the most obtrusive use of space throughout the exhibit, causing an abrupt visual and physical relationship between it and the observer.

    “A space is an open-ended statement. When I am working, I usually pose the question, why is space active and the object passive?

    “Space is not defined. It has the capacity to roll with the imagination,” Provence said.

    When one first enters the corridor, Provence’s structure Glove Box immediately demands attention. A purple and yellow crystal-shaped pyramid juts from the wall. A glove box lies in the center, similar to a biological containment unit, inviting observers to place their hands inside and use the marker to write on the flimsy plastic sheets.

    “Glove Box, more than my other pieces, allows the spectator to become a participant, so you are actively involved,” he said.

    Price begins his work with a few sentences, a string of words or a phrase he thinks of at any given time.

    The art is constructed of laminated crate lids with black and speckled gray “this side up” arrows across them, as well as miniature wooden palates (used for moving cumbersome objects in warehouses) stacked from floor to ceiling.

    Price was furtive when asked if the crates symbolized any message of blue-collar workers.

    “I see things in flat three-dimensional surfaces. My work is about crates and their functions by recognizing their surface as commercial vessels,” he said.

    An entire wall is devoted to Price’s Rain. Varying sizes of white raindrops protrude off the same shade of white wall.