Design Matters presents The Object is Null by Kimberly Hahn.

Opening Reception Saturday, Nov. 2, 7-10 PM

The Object is Null by Kimberly Hahn
Opening Reception: Saturday November 2, 7-10 pm

Design Matters is proud to present “The Object is Null,” an exhibition by Kimberly Hahn. Hahn is an abstract conceptual artist currently residing in Santa Barbara, California.

The Object is Null is comprised of reproductions in sculptural and photographic form of an object that is not present in the exhibition. Each work is entitled Null Reference with a subtitle, which references the new forms and objects that come from the divergence of initial inspiration and reproductive sharing.  The origins of Null Reference stem from the globalized, technological world we live in today, referring to computer programming language in which NullReferenceExceptions are thrown when one tries to access a reference variable that isn’t referencing any object – hence, it is null.

The Object is Null analyzes the inherent illusions of photography; photography’s subtle alteration of reality and its consequential “gloss of remove”. Each of Hahn’s reproductions is an imperfect one, modified from the missing object by materials, size, color shifted to greyscale, shadow, and dimensionality.  From early sculptural and photographic reproduction, to our penchant in a global marketplace to manufacture objects to be sold from photos of objects sourced online, the Null References own their imperfections, comment on our tendency to organize like things together, and become convincing stand-ins for the object referenced – so much so that they are considered the object themselves.

Kimberly Hahn’s work is inspired by a three year period of her life in which she had deteriorated eyesight. She learned to view the world through light, color, and shapes. This abstract view of the world led her to create works with strong photographic foundations and specific color palettes. She encourages a murky lack of distinction between mediums in her work, leaving an ambiguity to be explored. The beauty of these works draws the viewer in, but the vagueness is what causes the viewer to analyze and explore.

The opening reception takes place Saturday, November 2, 2013 at Design Matters Gallery. The reception is open to the public, and the exhibition will be on view through November 30th.

Curated by Bianca Collins. Contact bianca@designmattersla.com for press inquiries.
Our mailing address is:11527 West Pico Blvd Los Angeles, CA 90064
T:310.841.6423   designmattersla.com
Gallery Hours: Wednesday-Friday 11-6, Saturday 1-5 and by appointment

Reversal Installation

Kimberly Hahn, Reversal, detail, 2013, Seamless backdrop, curtain rod & holders, hinges, screws, serigraphic photo emulsion, silkscreen, wood, Dimensions Variable

Reversal explores spatial and conventional expectations, process, product, and a photograph’s relationship to time, collapsing many of these subjects into themselves.  The installation portrays a mock photo shoot, as if in a photographer’s studio, in which two sculptures, comprised of hinged, upright, serigraphy screens with backing boards, are placed on black, seamless backdrops in mirror reflection of each other.  Instead of conventional framed photographic presentation, the positive photographic images are seen in exposed light sensitive emulsion layers on the faux serigraphy screens.  The resultant emulsion border evokes memories of a sloppy photographic border, a vestige of analogue photography, seen now most often applied by modifications made in apps and photography manipulation programs.  In this case, however, a digital image was used and the analogue serigraphic process added the evocative border.  As the serigraphic printing frame and screen become replacements for traditional frame and mat, their function shifts from that of process to final product. This shift in purpose is also viewable in the image embedded in the emulsion, which is seen in positive (reversal) form, whereas in serigraphy, a negative of the image would normally be visible on the screen allowing, when printed, the ink to create a positive on another surface or object.

The shadows of the sculptures on the seamless become as integral a part of the piece as the images on the screens. The transparent substrate of the screen allows the photographic images’ shadows to fall onto the backdrop paper below. In contrast to a photograph, which claims to freeze moments in time, here, as the shadow shifts with the moving daylight, the photograph is creating fractional shifts in moments instead of capturing them. The black edges of the serigraphic frame blend into the backdrop, causing the seamless to become a disruptive object in the installation that no longer serves as a voiceless, neutral base generally intended to highlight a sculpture as end product, separate from its surroundings.

The work wrestles with the control over the artist that process normally has and reverses that dynamic by curtailing and thus turning these processes into a product.  Reversal demonstrates ambiguities of the photographic medium, its application, and its processes, while simultaneously displaying it as an end result.

Exhibition on view: March 20-May 25, 2013
OPENING RECEPTION
Saturday, March 23, 5-7 pm

Left Coast Gallery
5877 Hollister Avenue
Goleta, CA

Chromatic Variation 1 Installation by Kimberly Hahn

My new installation Chromatic Variation 1 is now on view in the Limuw: An Ode to the Sea exhibition at CAF Satellite @ Hotel Indigo Santa Barbara.

KimberlyHahn ChromaticVariation 1

Kimberly Hahn, Chromatic Variation 1 (Detail), 2013, Site-specific installation at CAF Satellite @ Hotel Indigo Santa Barbara comprised of fabric dye, dowel rods, muslin, monofiliament, paint, plywood, and salt, Dimensions Variable (Installation approximately 98-1/2 x 108 x 72 in.), Commissioned by Santa Barbara Contemporary Arts Forum, Courtesy the Artist.

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The inspiration for this piece is derived from looking at underwater photography texts as well as physics sites, which discuss how light is absorbed as one descends into the Ocean. Each wavelength of light is absorbed at a different depth in water with  longest wavelengths, such as red, absorbed first. As a result the colors are absorbed from red to blue as they exist in the color spectrum. In addition, Oceanographic sites discuss the density of the water as well as the salt content increases as one descends. As each pouch is dipped into paint, the color absorbs into the fabric and minute salt crystals cling to the fabric as the wet liquid part of the colorant evaporates.  Hanging at different heights the colored pouches project a feeling of volume and weight while cascading at different heights from red to blue as the piece gets closer to the walls and crannies of the back stairwell. Though inspired by scientific phenomenon, this work takes an intuitive, poetic approach to representing the feel of being absorbed in liquid as salt saturates the experience and color becomes de-saturated upon descent.

60-Foot Golden Rule

This piece was made in response to the premise of the Super Santa Barbara show set forth by Warren Schultheis and by the proposed Measure B in the fall of 2009.

60 Foot Golden Rule Installation at CAF

60-Foot Golden Rule, 2009
Imitation gold Leaf, wood, acrylic paint, and hinges
Dimensions Variable depending on installation (Stretched out it measures 60′ x 1-1/2″ x 3/4″)

 

This sculpture integrates the current building height limit measurement of 60 feet, which is being challenged for reduction by measure B, with an ethical standard of measurement the Golden Rule, commonly known as “do unto others as you would have done to you.”

Similar variations on this statement exist and their translations speak to the greater complexity of the issue by alluding to  neighbor, measure, and imposition.
“What you wish your neighbors to be to you, such be also to them.” – Sextus the Pythagorean
“Woe to those . . . who, when they have to receive by measure from men, exact full measure, but when they have to give by measure or weight to men, give less than due” – Muhammad
“ Never impose on others what you would not choose for yourself.” — Confucius, Analects XV.24 (tr. David Hinton)

These translations become interesting when we consider one of the major financial supporters of measure B is a Texas developer named Randall Van Wolfswinkel, who has benefitted from building housing developments in Texas.

The gold leafed reclaimed and distressed boards show a golden, yet weathered rule. It’s been used, it’s been abused, and yet is endures. It demonstrates work to compromise and work to maintain the golden rule as the “gold standard” of ethics. There is a less attractive red side that’s left exposed on the underneath and  is covered by the gold on the remaining three sides. The distressed nature of the wood reminds us of architecture and materials.

All quotes,  Ethic of reciprocity , Wikipedia, (http://en.wikipedia.org/wiki/Ethic_of_reciprocity)

Since the making of this piece, Measure B was voted down by the citizens of Santa Barbara and the 60-Foot height limit stands.