Glen Foerd on the Delaware
Artist in Residence
June 2019 – May 2020
Bismuth Quartet w/ Nicholas McNamara and Matt Engle
Immersive audio architecture captures the limits of the past and the infinite flow of futures in static/flow – a dynamic sound performance+installation featuring the Bismuth String Quartet with Nicholas McNamara, saxophone and Matt Engle, double bass.
Discover the fabrics of sound that create the composition and wander through the music as you explore the expansive Glen Foerd mansion.
This concert at Glen Foerd has been rescheduled for the fall. Information will be posted here as soon as it is available, including a link for tickets.
Grand Staircase Landing between 2nd and 3rd Floors
Ninety-six one-foot mirrors offer a constantly shifting, faceted view of the opulent ornamentation. The slightly misaligned grid of 6 x 16 squares fractures the architectural elements, creating surprising juxtapositions in the reflected compositions. Out of sight, each mirror is backed by a support, held in place by a flannel sandbag.
Notes on my residency
I’m in the middle of the year-long residency at Glen Foerd. It’s been an incredible experience: sometimes overwhelming, often inspirational, but always much more than imagined when I applied in April 2019.
I’ve spent the last eight months exploring the house, making some drawings and ceramics documenting my journey. By the fall I started focusing on the grand staircase and the third floor hall with its ladder to the attic space and roof. In the winter and spring of 2020 I will make work to install at the house.
At some point the house began functioning like an archive, as a place which I could dip into, explore, ask questions, retrieve images and data, and then go away to make sense out of it. The range of my exploration included the objects, the architecture, the original plan of the house as well as its current state of wear and renovation, and the documents associated with the house’s administration since 1970.
In thinking about the house as an archive, I noticed that many of the disparate experiences associated Glen Foerd were similarly suffused by an intense yearning, impulse, aspiration. Starting with the Macalester, Foerderer and Tonner families, desire continued to be a powerful force for the Lutheran Church, the people who get married at the estate, and even now for me and the other artists. This rapacious passion can be seen in the abundance and extravagance, but also yields strains of melancholy. I’ve tentatively named my project “An Archive of Desire” as a way to focus the disparate threads of investigation and integrate the literal, architectural, and abstract elements.