brynn dizack

objects

“once the idea of the piece is established in the artist’s mind and the final form is decided, the process is carried out blindly. there are many side effects that the artist cannot imagine.”

                                                                                                                                --sol lewitt

"art is the means we have of undoing the damage of haste. it's what everything else isn't." 

-theodore roethke 

 

passages 
(2012, in-progress)

 



this title refers to many things: a portion of text, the shift from text to object, or the more general shift of rigid certainty about something to the acceptance of fluidity and exception.



the passages are hand-cut from a single 23" x 35" piece of mylar. each takes approximately 12 hours and 15 x-acto blades to complete.



 

 




 

madeline 
(2012, in-progress)

 



what is the physical and emotional weight of the things we consume?



 

 

completed, madeline will contain 2,280 cast cement bottles. when the casts crack and chip, the resulting cavities are filled with sugar.



 

 



you were right about everything 
(2009-2010)

 



for one year, i kept a series of small notebooks, in which i would record conversations i overheard between strangers: in restaurants, on trains, or wherever i was. 



i transcribed small pieces of these conversations to 3" pieces of canvas, rolled each one six times into itself, twelve times into a piece of parchment paper, and twenty-four times into a piece of thin twine. 



the objects, which now total over 9,000, are to be opened and read by viewers, who either disregard or apply the disjointed information to the context of their own life experience, thus shifting the meaning of the original text.



 

 



impact
(2009-2010)

at face value, a solitary bone or tooth tells us nothing about its previous owner. it does not communicate personality, age, political positions, sexuality, or even gender. despite this, these objects are some of the most visceral and recognizable signifiers of human presence.



impact consists of 4,000+ individually modeled replicas of human teeth out of an acrylic air-dry compound. once dry, the teeth are hand-painted and glossed, and some are inscribed at their root with found text.

 

sweet

(2009)

four scale model human femurs, cast in table sugar. each bone contains a length of kitchen twine  through its center.



in installation, the strings are tied together, with the far end inserted in a vat of black oil. over the course of the exhibition, the oil travels slowly down the strings, melting the sugar as it passes through the bones.

expansion

(2007)

4,288 hand-sewn canvas vessels filled with soil. because dirt spreads haphazardly, it moves into the realm of the viewer, hopefully without their knowledge.

i wanted a bit of the work to attach to the bottoms of people’s shoes. viewers would carry a microscopic portion of that massive weight away with them, even temporarily.

of course, this is a rational way to deal with anything that overwhelms us: to chip away at it slowly, to divide it into manageable parts.