From the Roster: Justin K. Sorensen
By Meaghan Ritchey Posted in Visual Art on December 2, 2014 0 Comments 5 min read
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Every Tuesday afternoon we’re featuring the work of an artist to support him/her in cultivating a new audience, to give vision into his/her often unseen studio practice, and to build a diverse roster which participants in the contemporary arts conversation may reference. This week’s artist ‘From the Roster’ is Justin Sorensen.

Artist Bio: Justin Sorensen is an artist whose work moves between performance, sculpture, printmaking, drawing, and installation. Originally from northwestern Pennsylvania, Sorensen received his BFA from Kutztown University in Kutztown, PA before moving on to do graduate work at Bucknell University in Lewisburg, PA. He received his MFA from the Rhode Island School of Design. His work has been included in numerous exhibitions throughout the United States, most notably at David Krut Projects in New York, NY, and the Granoff Center at Brown University in Providence, RI. Additionally, his work was featured in the exhibition Global Vision at Kyoto Seika University in Iwakura, Kyoto, Japan. He is currently based in northeastern Iowa, where he is serving as a Visiting Instructor in the Department of Visual and Performing Arts at Luther College. He will be relocating to Williston, North Dakota in January to develop the Art Program at Williston State College and to serve the surrounding community.

I Went In Bitterness, 2011  mixed media on paper  50 in. x 224 ¼ in.  Moby-Dick is drawn on a sheet of paper measuring over 18 feet long. The  drawing is then removed from the wall and rolled up, never to be seen  again.
I Went In Bitterness, 2011
mixed media on paper
50 in. x 224 ¼ in.
Moby-Dick is drawn on a sheet of paper measuring over 18 feet long. The
drawing is then removed from the wall and rolled up, never to be seen
again.

Artist Statement:

“I have the impression that I may be inspecting a large area only eventually to exclude it from conversation.”  – Ludwig Wittgenstein, Culture and Value

In 1977 NASA launched Voyager 1, a spacecraft intended to give scientists up-close looks at Jupiter, Saturn, Uranus, and Neptune. After completing its primary mission, it traveled an additional 12 billion miles beyond the orbit of Pluto. On September 12, 2013, it was officially reported that Voyager 1 had left the solar system and entered into Interstellar Space. This is the area in a galaxy that is between the stars. Despite this accomplishment, it is estimated that it would take approximately 40,000 years before Voyager 1 would reach another planetary system. It is expected to be inoperable by 2025.

 

Winter Light, 2014 light dimensions variable  What began as a quiet attempt to sign my name among the stars,  instead became an unacknowledged gesture, lost in the middle of a  silent February landscape.
Winter Light, 2014
light
dimensions variable
What began as a quiet attempt to sign my name among the stars,
instead became an unacknowledged gesture, lost in the middle of a
silent February landscape.

Standing in the wake of Voyager 1, I have often found myself asking what it means to participate in a story that I did not write. For I can’t help but consider the implications of my practice as it moves along the scope of an infinite backdrop. Knowing that a spaceship has surpassed limits I thought could never be reached, to draw the stars is to come to an understanding of my own limitations, and to make myself aware of the potential inconsequence of my work. For me, this has begun to establish a posture of humility rather than one of cynicism. Measuring the meaning of my gestures now requires focusing on the point where my own personal narrative does not fall into insignificance but becomes a matter of secondary importance.

Strawberry Fields, 2012 - present  strawberries, zinc  2 ½ in. x 24 in. x 36 in. each  Over 800 strawberries are aligned into columns and rows on the  matrices of two etching plates. As the strawberries sit on the plates the  acid etches an impression, thus activating the matrices. Fresh  strawberries are used for each iteration of the sculpture.
Strawberry Fields, 2012 – present
strawberries, zinc
2 ½ in. x 24 in. x 36 in. each
Over 800 strawberries are aligned into columns and rows on the
matrices of two etching plates. As the strawberries sit on the plates the
acid etches an impression, thus activating the matrices. Fresh
strawberries are used for each iteration of the sculpture.

 

The landscape plays a prominent role in my studio practice. Primarily, I’m interested in the impression my body leaves on a space. My work is meant to act as an index within the land of my attempt to meaningfully move my body through the natural world. While my work exists in multiple forms, from performance and sculpture to drawing, print, and photography, I’m not interested in creating a readily identifiable style as much as I want to develop a practice of sustainable questions. The landscape holds sediment of countless histories and narratives. As my body navigates the land, I’m seeking to excavate those narratives as well as contribute my own. To that end, my practice is situated within the cross section of a much larger Narrative that I am trying to thoughtfully participate in.

The Transfiguration, 2011  gold leaf on rock dimensions variable  This installation is from a series of work that is exploring the Transfiguration of Christ, using The Transfiguration by Raphael as my source.
The Transfiguration, 2011
 gold leaf on rock
dimensions variable
This installation is from a series of work that is exploring the Transfiguration of Christ, using The Transfiguration by Raphael as my source.

 

The Gospel of Mark, 2013  perfume  dimensions variable  Near the border of upstate New York, I took a gift of 1.7 fl oz of  perfume and distributed it across the surface of a rock until it was  completely expended.
The Gospel of Mark, 2013
perfume
dimensions variable
Near the border of upstate New York, I took a gift of 1.7 fl oz of
perfume and distributed it across the surface of a rock until it was
completely expended.

 

The Foolish Builder, 2012  video and performance  Over the course of a week, I poured water into a box that I had placed into my freezer, allowing it to form into a solid block of ice. I then drove  down to the ocean, and with my back to the Atlantic, buried it in the  sand by pushing it back and forth.
The Foolish Builder, 2012
video and performance
Over the course of a week, I poured water into a box that I had placed
into my freezer, allowing it to form into a solid block of ice. I then drove
down to the ocean, and with my back to the Atlantic, buried it in the
sand by pushing it back and forth.

 

More of Justin Sorensen’s work can be seen at his website.


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