WHY WE DOWHAT WE DO

Erin Curry is Pulp’s Visual Arts Director. They’re an accomplished installation artist with an MFA from the University of Florida. They recently completed a large-scale textile project in Pulp’s recording studios and are currently the lead designer on Pulp’s FORM 2019 installation titled Limonaia, a collaborative project with Evan Galbicka and Senta Achee.

In Erin’s installations, sculptural processes and poetic perceptions are influenced by the way we navigate physical and digital spaces in respect to the aesthetic sublime. The spaces created veil, mutate, respond, and sometimes collapse as mutable environs analogous to the ways we navigate digital spaces.

The labor of interacting online with information may seem to be an effortless activity at times, especially when contrasted with the labor of making physical objects. However in an age of touchpads and touchscreens, the physical expression of the hand continues to play an integral part of our relationship to gathering, and dispersing information even if we lose the satisfaction of enacting an affect on the materials we are in direct contact with. For several years they’ve looked for ways to evoke the special properties of the digital realm while remaining connected to the haptic, phenomenological relationship of sculpture and installation.

Sails of traced newspapers, spinning wheels driving scrolls, pools of smocked silk, grids measured in wisdom teeth, and water and oil touchscreens all emerge from the studio in homage to Romantic Landscape painters and the Sublime through the lens of a contemporary digital explorer.

Curry’s major projects include large scale interactive installations, Mobilis in Mobili, So Far, &Cymatic Ambience, a custom textile work for Pulp’s recording studio. Their artist book, “Ambient Air" was featured in 2014 Best of American Comics, and Poems to the Sea, a response to Cy Twombly’s drawings of the same title, was published through Ley Lines in 2015.


Cymatic Ambience
The acoustic baffles and clouds in Pulp’s recording studios (see below) double as mural-sized artworks in contribution towards an ambient atmosphere for musicians working in the space.

Erin Curry

Erin Curry’s artwork refers to the limitations of communication and navigation and the various mediums used to convey them. They use drawing, sculpture, and textiles with allusions to writing and narratives to relay longing and lostness.

Erin Curry

Erin Curry’s artwork refers to the limitations of communication and navigation and the various mediums used to convey them. They use drawing, sculpture, and textiles with allusions to writing and narratives to relay longing and lostness.

ARTIST STATEMENT

“This work is a letter of thanks to the musicians that will work in the space. As a visual artist, musicians often accompany me in my studio; it’s an honor to be able to accompany them here. The overall design takes cues from Brian Eno’s approach to ambient music as a way to ‘induce calm and a place to think’  this work recedes when artists need focus and provides a place for the eye to alight when needed…”

"The designs of the work respond to patterns generated in cymatics and translated through rhythmic stippling and long linear contours.

The design in the larger studio references the discovery of 18th century physicist, musician, and meteoriticist, Ernst Chladni who first documented the phenomena of standing wave patterns. This room uses twenty different vibration patterns and translates them through rhythmic stippling and long linear contours. The textile panels are atmospheric and intimate counterpoints to the structural wooden elements and grandeur scale of the space. It’s appropriate that Chladni also studied the material of outer space, as the flecked cymatic glyphs of the final work evoke asteroid belts.

The wall space of Chladni studio is defined by two 11x18 foot state-of-the-art acoustic absorption wall panels and accompanied by two dozen hexagonal ceiling baffles. To maintain sound integrity the design needed to be fully integrated in the cloth, so we elected to hand-dye each piece heatset in vats of boiling water. Two hundred twenty one yards of fabric were needed for both recording studios. Our team included production assistant, Colin Curry, and a host of other assistants who wrangled cloth for several weeks putting long hours on a production scale. We cut, ironed, transferred drawings, applied resist, dyed in vats, dried, cataloged, and then every inch was carefully ironed before shipping to Brett Acoustics for framing and installation.I My project assistant and sibling, Colin, worked with me full time, managing dye tech responsibilities and smoothing the way. It would have been impossible without his solid work ethic, calm demeanor, and amiable willingness to leap into unusual dye processes and sauna of a workshop in the heat of summer.

Production on this scale was industrious and at times oddly domestic.This kind of work doesn’t get done alone.  One of the technical challenges of this work involved the dye and preparation method needed for acoustic industry spec fabric. Every piece was dyed in a boiling vat of water, and pulled out as flat as possible and then every inch ironed flat at a snail’s pace by a team of part-time studio assistants who dedicated long often frankly dull hours to this task alone. I’m so thankful for their help.”