October Issue 2000
Works by Sally Rogers at gallery W.D.O. in Charlotte
gallery W.D.O. in Charlotte, NC, will present an exhibit of sculpture by Sally Rogers entitled, Fallout, from Oct. 3 through Oct. 28, 2000. This will be her first exhibit back in Charlotte since her show at The Mint Museum of Art in 1996.
Working mostly in metal and glass, Rogers' work transforms the environment it inhabits instantaneously by adding an amazing life and energy to even the most stoic concrete jungle. Very emotional in its inception, her work challenges the viewer to look as deeply inside themselves as they do the work itself. Movement, rhythm and balance are all evidenced in these large scale intricately complex beings of steel, glass and wood. As is the case with many artists, her work represents many aspects of life and the shared human experience. The pieces which will be in this exhibit are certainly no exception. Rogers explained the significance of her new work in a recent interview with Jeff Hull at gallery W.D.O.
Hull: I always find it interesting when someone asks an artist how long it takes to make a particular piece or how much time is involved in creating something. What do you feel about this and how do you respond when posed with a similar question?
Rogers: I have discrepancies in my feelings about a question like this, the amount of time and effort that is involved in making a meaningful work of art is not always proportionate to how successful the results are. Some truly wonderful pieces can result from efforts both minimal and/or serendipitous, and the history of art is replete with examples that fall in that category of endeavor. For myself, however, I have found that there are no simple or uncomplicated paths to the completion of a sculpture - and, in fact, what has evolved with the work is a style that incorporates both a complexity of materials, as well as construction.
The three dimensional ideas I wish to convey depend on a carefully determined interaction of forms and media, and I have found no way around (nor am I looking for one!) the intricacies of fabricating various components of the sculptures. Craftsmanship, and a seamless flow to the imagery are as important as the concept(s), because the execution of the work has a direct connection with the impact of the idea(s) conveyed. At this point in my life, that is both a blessing and a curse - as the ideas are many, the completion of a piece is very labor and time intensive, and life is short. That combination of complications can be both frustrating and compelling at the same time; it is not in my nature to look for "shortcuts," especially if they will, in any way, detract from the power of the work.
Hull: I do not want to get too personal here so disregard this if you do not wish to discuss it, but with regard to the work that will be in our gallery, is there anything that you would like to say about the pieces overall as they relate to you, the time in your life when they were inspired, how they may be different perhaps from what we (Charlotte) had the opportunity to see in 1996 with your show at the Mint.
Rogers: The work to be displayed at W.D.O. this fall I generally view as transitional in several ways. I am 39, an interesting and rather change-inherent point in life, anyway, full of portent and potential - and a point at which one "re-reviews" what is continually being reviewed in an artist's mind, the evolution of one's work.
What I see in my own work over the last 3-4 years, outside of the conceptual questions, is a progression in both scale and the use of metals (primarily mild and stainless steels). In the last year or so, I have found myself missing a more experimental and investigative quality with the glass components, and in the work for this show I am attempting to incorporate some new types of glass castings, in terms of chemical and color makeup. At this point, I am having some success (albeit intermittent) in compatible color-layering, and this is opening up a new range in my palette of both experimentation and colors/tones.
In general, my work has also escalated in scale over the last few years, and reflects my interest in both exterior and public placement of the sculptures. The execution of some larger commissions in the past two years has been of great enjoyment to me: at the same time, I recognize that some ideas are more appropriately represented on a more intimate scale. Some of the pieces in this show will reflect the latter, but I think that, ultimately, successful works of art are those that have impact regardless of their size/scale. Parts of my efforts are focused on creating pieces that would "work" irrespective of size.
In terms of imagery, which is certainly an evolutionary aspect as well, I see the work as a reflection of my inner transitions, emotions, and growth - evaluated and interpreted, I hope, in a manner that opens it up to connecting with any similar or shared emotions and experiences of the viewer. We are all unique, and our internal and external journeys are, as well. And yet, what I am continually trying to tap into, through the work, is the universal experience of being human, and the archetypical emotions that all striving, thinking and feeling persons must surely encounter at some (or many) levels.
The title I have knocked around in my mind for this show is Fallout, which seems to me to describe, most accurately, my life and work at this point in time. It is a word inevitably with some negative connotations, but which also seems to suggest some breath of hope for the future. My interpretation(s) are both personal and exponential.
Hull: If there were one piece that you could do, with no restrictions or limitations, what would that piece be like? Where would it's ideal home be?
Rogers: While I feel I am, at least on the
physical plane, making "the work I want to make" at
this point in time, I find that my "restrictions or limitations"
(as per your question) in making the work are actually of a more
ephemeral, or at least less physically tangible nature. Time (or
the perpetual and inevitable lack of enough), the unexpected and
sometimes undesired complications of one's life outside of the
work, the painful and emotionally-wrenching aspects of deaths
and illnesses within family and friends, and the unavoidable complexities
of the functioning in the 21st century world, combine, at times,
to form "a sea of troubles."
At the same time, a part of my psyche recognizes that this is,
for better or for worse, paradoxically, the very fuel of the fire
in my creative need and one does not evolve without the other.
The "ideal home" for that work is always in the heart.
For further infomation check our NC Commercial Gallery listings or call the gallery at 704/333-9123 or on the web at (http://www.gallerywdo.com).
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