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| “I want to touch people with my art. I want them to say, ‘he feels deeply, he feels tenderly.’”
—Vincent Van Gogh As an installation artist, the entire gallery becomes my canvas. Installation art goes far beyond the aspect of viewing, but also is meant to be experienced. Time and space are integral to my work, allowing the work to become an extension of real life, a chance to connect with memories, feelings, and expressions that the steady sound of a sprinkler can resurrect, or the bright sounds a happy bird can bring to mind. It is a chance for the audience to feel as if they have been a part of something special, something bigger—not necessarily to feel as if it is new or different, but to feel as if they are home. When in graduate school, I began questioning the idea of what a drawing is, or what a drawing can be. I ended up working with baling wire as a medium, because I found it most naturally translated me. It’s the sturdiness of the metal, combined with the soft subtle curves that make it such a great drawing medium. I create two-dimensional wire drawings of every day items, which give it a pop art feel. I finish off the images with a rust patina that references back to my childhood memories of living on the gulf coast of Texas, and the lifelong effects of depression described by Andrew Solomon in his book The Noonday Demon as “a gradual and sometimes permanent thing that undermines people the way rust weakens metal”. When I put all these wire drawings together, it’s not surprising that my installations so often deal with melancholy stories and memories that so often translate the human experience. |
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| Joel Armstrong | |
| Joel | |
| Armstrong | |
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| 72761 | |
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| Siloam Springs | |
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| USA | |
| Artist, Professor | |
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