“We often both show and hide things when we allow others to peek into our lives. My work is full of layers and contradictions, protecting and revealing at the same time. I intertwine the precious and the discarded together and explore finding a definite truth while mucking around in a mess. My work gives definition to the shapeless and the intangible, going behind what is presented, seeing through the veils, and perceiving what is hidden.”
“It is hard to say why I make art. I guess that I want something that is truly mine. There is so much that happens to us from day to day and we react to it, yet it does not ever seem to encompass all of our emotions and thoughts. Creating art for me is a way to get it all out at once whether it is pretty or not. It allows for thought and emotion to be expressed in their true form.”
Laura King is an active artist whose work has been exhibited nationally in the last thirteen years. Her work is both two-dimensional and three-dimensional.
Laura is originally from upstate New York. She moved to Seattle in 2002. She teaches art at Shorecrest High School and is the Visual Arts Specialist for the Shoreline School District. For 17 summers, Laura returned to New York to work at the New York State Summer School for the Visual Arts. She worked for ten years as Assistant Artistic Director and thirteen years as a Master Teacher. The previous five summers she was the Assistant Director of Administration. Prior to that, she was a Teaching Assistant for two summers.
Laura received a Bachelor of Fine Arts in Printmaking from the State University of New York at Buffalo. Following graduation, she furthered her studies in metals at Bezalel Academy of Arts and Design in Jerusalem, Israel. Laura later received her Masters in Art Education from Nazareth College in Rochester, New York. She currently resides in Seattle with her husband, and two children.
In his current show at Shift Gallery titled Meta Memory: Digital Facsimile Retrospection Recontextualized, Craig van den Bosch has devised a way to share his personal memories without revealing too much. This is refreshing, given our online world of shares, tweets, likes, and comments! He decontextualizes his personal information visually through multi-dimensional wall sculptures. Photographs of his personal life have been joined and altered so the memory itself cannot be deciphered. The viewers see colorful abstract works that are complex and dynamic but remain unaware of the layered experiences that have gone into each piece until they read his artist statement. The last line reveals that his goal is to “take moments in time and nest them into one memory, modifying and tweaking each image set until the original context is indecipherable, a visual encryption. The outside viewer no longer has free access to the memory even though it is made public.” Van den Bosch is preserving the privacy and sacredness of the moment in a way similar to Australian Aboriginal art traditions called “dreamings” which, wisely and intentionally, leave out aspects of the story.
Having asked a large swath of questions in regard to social media, file sharing, and the nature of the digital world, he sees how easy it is to reveal too much. What is privacy? Who owns the information? Do people reveal too much? The questions reverberate, and some answers seem obvious, but I appreciate how van den Bosch puts artistic stress on the subject. So often, online participants seem unable to exercise their option to edit themselves. As van den Bosch puts it, “combined with social media, digital artifacts can reveal more than some individuals may desire.”
“So, while it is theoretically possible to record every single aspect of life with digital technology, this show not only reminds viewers of how superfluous that level of transcription is, it provides a far more creative way of sharing – one a bit wiser and certainly more intentional than the over-sharing, and dare I say, dependence on connecting via quick pushes of buttons. I can’t imagine how much time went into culling and editing hundreds of images of personal memories. To me, it is the grasping back of the “quick” and reclaiming it as artistic labor. This practice, influenced by both the palette and practice of Aboriginal “dreamings” ends up giving viewers the new version: colorful, condensed, bold, and less revealing personally while still patently, lucidly communicating.”