visionary: maryann webster

Shallow Edge of the Gene Pool

Maryann Webster creates artwork that is visually stunning yet haunting in its portrayal of an often conflicted and problematic human relationship with nature.

Webster describes her work as a means of addressing a personal concern for the fragility of nature, both on the human scale, particularly in the struggle with mortality, and on a larger scale with an ecological system in turmoil.  Referencing the underlying theme in her 2007 exhibition entitled Aquagenesis, Webster alludes to water as the "source of all life as well as a metaphor for dreams and the subconscious self."  The body of work in the exhibition unified this theme, both creating a powerful spiritual and physical link between the human body and water, while posing thought-provoking questions about humanity's relationship with nature.

Shallow Edge of the Gene Pool and Mutant Tide Pool address the potential impact genetic modification can have on precarious ecosystems. Webster was influenced by research in which scientists were able to splice genes of a flounder on to those of tomato plants in order to make the tomatoes more resistant to cold. Another study found that the pollen of genetically modified corn was killing monarch butterfly larvae, as well as migrating and changing other native species of corn. Webster's images explore the bizarre possibilities of merging plant and animal species and the potentially irreversible damage genetic engineering could have on the natural world.

Mutant Tidal Pool

Webster's fascination with water, and the textures and surfaces of the natural environment led her to research Bernard Palissy's late renaissance ceramic nature forms. Palissy created basins reminiscent of tide pools, simulating the illusion of water using ceramic glazes and glass. Palissy's work embodied a rediscovery of nature, featuring plants and animals faithfully cast from ponds and estuaries, and vitrified in clay and glass. For Webster, this style seemed to be ripe for creating a contemporary reinterpretation about the current precarious condition of nature and the effects of the environment on all life. At a cursory glance, Webster's basins have the appearance and aesthetic appeal of original Palissy basins, but on closer observation, disturbing mutations of plant life and sea creatures emerge. Palissy's work was intended to portray nature in a pure, idealised form, while Webster's basins portray the effects of environmental damage due to human carelessness.

Platter [above], last quarter of 16th century, School of Bernard Palissy (French, 1510–1589) — detail [below]

:maryann webster flickr

:julien kedryna

playtime

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homage: milton glaser

Less is not necessarily more.

Being a child of modernism I have heard this mantra all my life. Less is more.

One morning upon awakening I realized that it was total nonsense, it is an absurd proposition and also fairly meaningless. But it sounds great because it contains within it a paradox that is resistant to understanding. But it simply does not obtain when you think about the visual of the history of the world.

If you look at a Persian rug, you cannot say that less is more because you realize that every part of that rug, every change of color, every shift in form is absolutely essential for its aesthetic success. You cannot prove to me that a solid blue rug is in any way superior. That also goes for the work of Gaudi, Persian miniatures, art nouveau and everything else.

However, I have an alternative to the proposition that I believe is more appropriate. ‘Just enough is more.”

        — MILTON GLASER

(super)moon over manhattan

Universe.  We need your help.



:image steve hess