LA Artist Profile: Pae White
Director Claudio Conti films Montecito Heights-based artist Pae White as she discusses her latest work.
Released on 6/13/2013
(mellow guitar music)
Hi, my name is Pae White I'm an artist in Los Angeles.
And this is my small studio in Montecito Heights.
I thought I would peak around and show you some of the
research I'm doing on a number of projects
and maybe we could start with
This project here is an exhibition that was at
the Power Plant in Canada, Toronto, Canada that's now
moving to Santa Fe and the configuration of the space
is completely different from the Power Plant
so it's really working with the puzzle here and these are
the components the pieces that were at the Power Plant.
Which was predominately tapestry, woven works.
And I really like this situation which didn't really occur
in Canada but the big sort of open vast space.
And rather than put up walls and divisions I would really
want the artwork to be those divisions and create the flow
and direct the viewer it's something that I did at
the Whitney on the third floor last year.
When the elevator opened all you saw
was a full frame of art.
Some new works in this show.
This is one of them it's quite large.
I like this show it's a lot of monumental tapestries
and this is I think about 26
26 feet long by
10 feet tall.
And it's a woven tapestry
not unlike some of the samples
I have here and it came from
this little tapestry
that I found in northern California.
I had scanned at a very, very high resolution.
I really like the kind of cross-section and it's like
a sampler of stitching and styles.
And so I had this scanned including the price tag
three dollars and then had this woven that couldn't be
more foreign to it which is a very sort of cold,
industrial, digital process,
a loom that I've worked with
for many years a loom in Belgium and
it's a process that knows nothing about this
and this knows nothing about that.
So I really like that kind of struggle that kind of
partnership that kind of one, a machine trying to understand
something that it's completely foreign to it.
This studio holds a lot of my ongoing research
and some of my past research and looking around I see
this array of bells by Paolo Soleri.
I'm just fascinated with them and I collect them.
And they were my excuse to buy them was I needed to
research bells for sculpture project Minster in 2009.
Where my project involved bells in the city and
in a park.
includes this material for a large
array hanging piece hopefully at Chanel in Las Vegas
at the Bellagio and it's a material that I'm fascinated
with because it just defies logic to me and it's a
double sided mirror that is as thick as paper.
And I feel like in the space such as Chanel in Vegas
it just has this kinda glamour mysticism that would be
really nice to work with.
I'm also working on an exhibition at gallery,
at Kaufmann Repetto Gallery in Milan.
And I'm fascinated with popcorn as a sculptural form.
So I feel like this is the perfect kind of balance
between abstraction and the figurative.
So this is white clay
this is red clay painted white, we're still
working on this research.
(heavy pieces thump on table)
Six artists were invited to develop proposals for three
areas of the
the future expansion of Tom Bradley International Terminal.
And I saw that cable as an opportunity to make a tapestry.
And with any kind of a public art project there's always
sort of strange situations and this one's going to be very
interesting because I will have to interface
with Customs and Border Protection on an artwork
it's something that I've never done.
But the fact that the artwork is the security has a whole
other set of contingencies that I have to sort of brace
myself for but you can see as you move through this space
there's these fluctuating undulations that felt organic
to me and felt natural to this really hard airport
environment I have some samples here.
They're evaluation samples of tapestries
you may be familiar with them I've talked about them
in the Model they've been exhibited all over.
And this is what I'm sent to approve color
and weave construction and density.
So these ones are of foil and
what I really like about
the foil is it really sense, gives one a sense of
light reflected but it's your body and it's your mind
and it's your eye that's telling it that it's reflective.
It's absolutely the least reflective possible thing.
It's just cotton.
And these pieces here were also samples which were
just kind of a smattering of things I was working on
in the studio at the time so I can look at this and I go
oh yeah I was working on that project here's a cutout
of a mobile piece of plastic that I used in a mobile.
Here's some spider webs sections.
I was eating this candy.
It's just kind of a portrait of the studio at that
very time becomes sort of imprinted and woven
and heroicized I mean something like this Indian candy
also become heroic when it's very large.
So what we have on this door is a test decal
that I used for the Kishwar Museum and Sculpture Garden
a few years ago, the architecture in that space has this
very beautiful sort of curving unfolding
wall of glass and I wanted it to feel like something
had been stitched on it, like somehow
that glass was in the process of becoming a textile.
And here we are back at the studio so
thanks for taking the tour.
(pop guitar music)