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Shrouds

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Political Circles > Corp Icons > Icons - formal emblem subverted Red. 1993 work was made possible by the New England Foundation for the Arts.

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Danger Zones - The Sublime as a neutral 2010-11 was made possible by a Connecticut Commission on the Arts grant. .

_ _L A D Y. ...M c C R A D Y. . .....Continuing Bodies of Work

b i o . . . . . d a n g e r - z o n e s. . . ..... i c o n s. . .....s h r o u d s. . .....j o u r n a l . . .....s o u v e n i r s. . .....p r e s s + n e w s

Shrouds 1978 > Halo installations 1983 > . . .
. . . .In 1978 Kenneth Miller bought a painting of a figure in a shroud which was his family paisley from Scotland. Following his economic theory, I invested the proceeds in supplies. After 1983 in Tokyo, I hung new, medium sized drawings of dense linear shrouds with emerging symbols, as low halos, which required bowing to enter. Halo-Circle installations at Hunter and City Wide Open Studios in New Haven followed; and I invited community participation by drawing and creating standing circles, in schools, until 1998.
. . ,. From 1984-1986, I used shroud drawing as performance on a runway landing macadam, Greenport LI NY. The 8' and 11' drawings on Behlen Rivit glue-sized canvases were exhibited by Helen Harrison, curator, at Guild Hall Museum and bought by two collectors.

Power and Light ~ Danger Zone installations 1980 >
. . . .In 1980 I made the first cone warning painting, which is owned by Olivier Renaud Clement. I imitated the transcient improvized danger warning stations that workers tumble together for underground repairs, and I painted on those objects. Ten years later I added stoneware and steel elements to paint on. In 1983, using industrial black lithographic tusche, I made 5' drawings of street worker rituals, and installed them in a Paris catacomb that was an underground gallery called Beau Lezard.

Political circles 1988 > Corp Icons 1990s > Icons. Red Es, seeds, pretzels
. . . .1988 was my NYU Broadway Windows installation about the dominant male block vs feminine circular band, the encompassing Marxist round, Foucault's worker observed.

 

 

 

 

 

 

 

 

 

 

 

 

 

Statement, 2011
There's big stuff we can't control, but there are theories that provide tools of survival. . Vertigo, loss of balance, the edge of falling, are signifiers. In the midst of our created chaos, there is no halo-shaped circle, as I had thought before. Maybe one learns to approach the unknown situation by using Husserl's Phenomenology, a scientific method of detached and reflective conscious attentiveness; it replaces the act of judging with the combined acts of knowledge and intuition.

I use elemental materials to make marked-on replicas of my experience as a Rosenbergian Action Painter. My replicas fling themselves around, and smoke and steam and flash and try to find balance.
. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . . .. . . . - Lady McCrady July 2011
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