Rosamond Casey’s painting, Tabula Sacra, appeared in our spring issue accompanying the article “Vocation in the Valley.” A painter, calligrapher, and teacher based in Charlottesville, Virginia, Casey recently spoke to THR about this painting and her other work.
The Hedgehog Review (THR): In describing your work, you have said “I excavate recognized systems—a man’s suit, the alphabet, cultural personas—fracturing them under examination so they can be set free, made transparent, or rendered slack.” What do you mean by the idea of “slackness”? Can you describe a project in which this was revealed? Did this elicit any particular response (sadness, disappointment, or dread)?
Rosamond Casey (RC): “Slack” is the condition of an object lying spread out to be examined. In order to grasp the meaning of a thing it has to be taken apart visually, and emptied of its regular blood flow, its habit of being, the way it’s used to being seen. As the observer of the thing, I have to come to the project in a similar condition, a little bit empty and dumb. To understand the weight, proportions, and contours of a thing like a man’s suit (an object that held my interest because it was both ordinary and engorged with meaning and has survived centuries of fine-tuning with no fundamental breakdown of its form and function), I have to turn it around in my hands, consider the scope of its cultural reach, recall my own primal sensory reactions to the look, smell, and feel of it, dissect its interior lining, understand its high structure and flaccid motion as it moves down the street in a wind. Many small art projects accompany this stage of getting to know the object and they all inevitably get thrown out. I never doubt that the object will eventually be recharged and give itself up to a deeper interpretation by the time the work is presented in a gallery. The project was ultimately called Men in Suits: A Day on the Hill (above).
THR: Can you describe how you came to focus on kinetics in art, that is, the impulses of fixing/stabilizing and liberating/releasing?
RC: I came to art early through an interest in the kinetics of shaping letters and designing text. I continued my commission work as a calligrapher, but in my painting I shed the text and focused just on the kinetic, rhythmic messaging of lines in space. The possibilities of pure expressive line led me to invent new hand tools that would allow those gestures of paint to take on the illusion of three-dimensional form. The speed and pressure under which the wet painted strokes were made created undulating surfaces on glass panels that looked like natural deposits formed by wind, water, and slow growth. The character of the kinetic energy of the stroke determined the form. All this information came from studying calligraphic forms and understanding principles of touch—release and attack, speed and drag.
THR: Your interest in the art and craft of bookmaking—whether in your calligraphy, papermaking, or book art—emphasizes the physical object and the artist’s hand. Your work in acrylics on glass (below) calls for a special kind of engagement with paint and surface. Through your installations, you encourage viewers to take part in the art. You are in effect drawing attention to the “thingness” of art. What role does the material aspect of art and artistic creation represent for you? Continue reading
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