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Jo Yarrington
Jo Yarrington, Mute-Ability_Composition 4, 2019_acrylic, steel, player piano rol

2019

$1,700
$2,12520% Off

About

Jo Yarrington’s photographs, prints, works on paper, glass sculptures and architecturally-based installations have been shown in exhibitions at the Aldrich Contemporary Art Museum, Yale University, Cornell University, the Museum of Glass, the DeCordova Museum and Sculpture Park, Artists Space, St. John the Divine Cathedral, Grounds for Sculpture, the Museum of American Glass and ODETTA, among others. International exhibitions have included Guangzhou Academy of Fine Arts Museum, Glasgow School of Art, Glasgow Cathedral, Glasgow University, Galeria Sala Uno and Centro de las Artes de Guanajuato. She represented the United States at the Sharjah Biennial, United Arab Emirates and participated in the Berlin Biennial. in 2010 she received the Bronze Prize, the Museum of Contemporary Art, Skopje, Macedonia. Yarrington is a recipient of artist grants and Fellowships from the Pollock Krasner Foundation, the New York Foundation for the Arts, the Pennsylvania Council on the Arts and the Connecticut Commission on Culture and Tourism. She has received Residency Fellowships from the MacDowell Colony, the Museum of Glass, the Museum of American Glass, the Bridge Virtual Residency/ SciArt Center, the Lucile Walton Fellow/Mountain Lake Biological Station, the Virginia Center for Creative Arts, the Anderson Center and the Ucross Foundation, among others. International grants and fellowships have included the Banff Center for Arts and Creativity/Canada, SIMS Residency/ Iceland, Cill Rialaig Artists Residency/Ireland, the Burren College of Art Residency/Ireland and the American Scandinavian Foundation. She is a Professor of Visual and Performing Arts at Fairfield University and lives and works in New York City. STATEMENT In site-specific exhibitions, public art commissions, collaborative and individual projects Jo Yarrington has used varied combinations of glass, waxed surfaces, found artifacts and experimental analog photography to investigate the way we perceive – searching for, experimenting with and developing throughout a sensory-based vernacular. Her mostly translucent materials function as physical framework and symbolic membrane. Light, both natural and ambient, provides a kinetic or time-based element to her work. Scale and the integration of architecture are also pivotal components. In the 6-part installation for the two-person exhibition Illuminated, Yarrington continues her interest in the connections between vision, sound and language. In Mute-ability: Compositions 1 – 6, her title for this light-based comprehensive work, she combines the words mute and malleability. The work focuses on found piano rolls, a music storage medium, originally conceived as coded notations or ‘note control data’ for music produced in pneumatic player pianos. The physical perforations in the paper provide the means by which small bellows move each individual note to produce a range of sounds. In Yarrington’s malleable variations, the piano rolls have been cut to different lengths then randomly layered between stacked fluorescent-colored plexiglass. Each piece extends from the wall, minimally framed to hold it in place, allowing the work to appear as if floating. The individual units are activated by varying colors and/or brightnesses of LED light strip positioned behind the work. In this configuration, the perforated piano rolls now act as vehicles for light transmissions – the sonorous transposed through illumination. In the accompanying three flatfile drawer installations titled Seematics: Voice, Wish, Answer, a play on the words see, Cymatics (modal vibrational phenomena) and semantics, Yarrington continues her experimentation with visual language derived from sound structures. As if extruded from the piano roll perforations which are comprised of a series of dots and dashes, Yarrington uses plastic rods and columns and Morse Code, another sound and light system, to offer new meaning to words of songs lifted from the sing-along section of the exhibited piano rolls.

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