mnartists.org: Perci Chester

SALLY DREW FORTH HER SABER

Perci Chester — Sun, 12 Aug 2007 03:46:30 GMT

SALLY DREW FORTH HER SABER began as a black and white collage that evolved into a series of color prints. Giclee on archival watercolor paper 45 x 36 in 2007

smokin street eats

Perci Chester — Sun, 12 Aug 2007 03:42:58 GMT

These six collages become a visual poem of found cigarette packs from all over the world- wrapping and trapping with secret messages inscribed. Giclee print on archival watercolor paper 32 x 40 inches 2007

MAINSTREET

Perci Chester — Sun, 12 Aug 2007 03:39:00 GMT

Giclee print on archival watercolor paper 54 x 65 in 2007

CONVERSATION

Perci Chester — Sun, 12 Aug 2007 03:37:23 GMT

Giclee print on archival watercolor paper 57.5 x 62 inches 2007

DOGDAZE

Perci Chester — Sun, 12 Aug 2007 03:35:16 GMT

DOGDAZE Giclee print on archival water color paper 68 x 54 in 2007

HOMAGE LE PERE-section closed

Perci Chester — Sun, 12 Aug 2007 03:11:10 GMT

Begun as a collage this piece utilizes the paper covers that my father, as a sign painter, used as protectors for painted samples he made to show clients various textures and techniques. The "section closed" was a thin paper with holes that he used to make a sign-transfering the image on to metal using chalk powder. 40 x 56 inches Giclee print on archival watercolor paper 2007

WE WHEN HE

Perci Chester — Sun, 12 Aug 2007 03:03:16 GMT

WE WHEN HE is a giclee print based on a collage in homage to my father who was an artist who supported us by being a sign painter. I call the series of 2D and 3D works HOMAGE LE PERE. The letters and dictionary in this piece are from his sign shop. A small photo booth strip of photos of him that he took of himself are included by the lower letter E. 35.5 x 42 inches carbon ink on archival watercolor paper 2007

ALA MODE

Perci Chester — Sun, 12 Aug 2007 02:56:16 GMT

ALA MODE is a giclee archival print that began as a collage. It has evolved into a series of prints that begins with envelopes as the heads of the figures. A narrative evolves. 28 x 40 inches. carbon ink on archival watercolor paper. 2007

TROJAN REMORSE

Perci Chester — Fri, 27 Jul 2007 04:19:14 GMT

Found objects cast in bronze transform with a humorous ambiguity.

CUCKOOKASHOE TWO

Perci Chester — Fri, 27 Jul 2007 03:15:27 GMT

CUCKOOKASHOE TWO evolved from CUCKOOKASHOE, my entry in the Minneapolis Art Institute's Foot in the Door Show held every ten years. I knew a man who refurbished old cuckoo clocks and I thought it would be fun to combine the clock to the shoe. So I found several large shoes at Nordstrom's Oversize Shoe Sale-that happened around the time I was working on the piece. The first piece was a cuckoo clock set into a wooden shoe that I made to fit the one square foot dimension that was required for the exhibition. TWO was the initial concept I had about the piece.

GOLDIE

Perci Chester — Fri, 27 Jul 2007 03:08:41 GMT

GOLDIE's nose was once a gold crown on my back molar. It is set inside an old clock box and steel shreddings are used both inside and outside for her hair.

A WHOLE IN TIME

Perci Chester — Fri, 27 Jul 2007 03:06:03 GMT

This pogoda like image is a stack of old clock boxes. They no longer function as time pieces but become about time or timelessness.

BIG MAMA HAULING...

Perci Chester — Fri, 27 Jul 2007 03:03:03 GMT

Made entirely of found objects, BIG MAMA has a clock face, moons and a biological clock. She is secured on steel wheels that probably once rode the railway.

EIFFEL WEDDING

Perci Chester — Fri, 27 Jul 2007 02:59:07 GMT

An assemblage of found and fabricated forms; positioned at the edge of balance. In many traditions, bride & groom are raised up on a ceremonial chair to be transformed & celebrated.

WHERE OH WHERE VIRGINIA DARE

Perci Chester — Fri, 27 Jul 2007 02:56:44 GMT

WHERE OH WHERE VIRGINIA DARE -the image of a crib flying through a screen door can be seen as a visual poem with reference to the first child born to the first settlers who came to America establishing Jamestown and then disappearing. The ambiguity of the reference asks questions about our children and the world they are inheriting. This is not a description of the piece but of the thoughts that went through my mind after I made the piece. First the work evolves and once it reveals itself, I begin to unravel it's meaning to me. The crib and the door were found objects. The placement of the beeswax torso of a pregnant woman behind the door and reflected in the mirrors that serve to support the door, takes the metaphor one step further. It is fragrant and fragile.