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Saltonstall alumni exhibition

Saltonstall presents Adapting Conditions, a brand new site-specific installation by alumna  Lorrie Fredette (’14) at the Cherry Artspace in Ithaca, NY.

 



Exhibition dates & location

Dates: Fridays, Saturdays, & Sundays: October 5 – 7  |  October 12 – 14  |  October 19 – 21, 2018

 

Hours: 5:00 – 8:00pm (sound recording and lighting loops approximate every 50 minutes)

 

Location: the Cherry Artspace: 102 Cherry Street, Ithaca, NY (.6 miles behind Wegmans)

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Artist bios:

Fredette 2018 Portrait Med SizeLorrie Fredette (’14) is an artist, curator and collector. Lorrie has exhibited work nationally and internationally, including solo and groups exhibition in the US and Europe. Her museum exhibitions include the San Jose ICA (San Jose, CA); Museum of Contemporary Art (Jacksonville, FL); Art & History Museum-Maitland (Maitland, FL); and the Cape Cod Museum of Art (Dennis, MA).

 

Lorrie’s work, writings and curatorial projects have been reviewed and published in The New York Times, The Brooklyn Rail, Sculpture Magazine and SciArt Magazine.

 

Lorrie is represented by Kenise Barnes Fine Art (Larchmont, NY). She is a frequent visiting artist at the State University of New York (New Paltz, NY). She holds a BFA in Sculpture from the Herron School of Art + Design – Indiana University, Indianapolis, IN. She lives and works in New York’s scenic mid-Hudson Valley.

 

 

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E D Intemann (Designer) is Senior Lecturer and the Resident Lighting Designer at the Schwartz Center for the Performing Arts. He graduated magna cum laude from Denver University with a B.A. in Theatre, received his M.F.A. in Design from Cornell University, and is a member of Phi Beta Kappa. Before coming to Cornell, he was Assistant Professor of Theatre at Frostburg State University and Associate Professor in the University of South Carolina’s MFA program. He has designed over 50 shows at Cornell including Metamorphoses, The Grapes of Wrath, Hamlet, Antigone, and Amadeus. His scenery designs include The Miser, The Clink, and Slightly to the Left of Burlesque. He designed both scenery and lighting for The Comedy of Errors, in addition to several dance concerts, and was the Artistic Director and lighting designer for the 2005 Dance Concert Reflections in an Eye of Titanium.

 

Professionally he has designed at Dancespace at St. Marks and La MaMa in New York City, the Eastman School in Rochester, NY, and the Sanctuary Theatre in Washington, DC. Other design credits include the Charlotte Repertory Theatre in North Carolina, the Maryland Institute College of Art in Baltimore, and the Kohler Arts Center in Wisconsin. Internationally he designed for the Confrontations Theatre Festival in Lublin, Poland. He is a member of United Scenic Artists Local 829 in both scenery and lighting design and of USITT (U.S. Institute of Theatre Technology). He has designed lighting software and is a PSIA certified ski instructor at Greek Peak in his spare time.

 

 

adam_diller_2014_1Adam Diller’s film, audio, and installation work explores human-nonhuman networks through a practice informed by phonography, critical geography, and landscape film. He collaborates as cinematographer, location sound recordist, sound designer, saxophonist, and composer of electronic music.

 

Adam is currently a PhD student at Temple University’s School of Theater, Film and Media Arts.

 

During Adam’s residency during the summer of 2014, he set up a microphone by the colony’s pond. The hour of audio he captured serves as the backdrop for Lorrie’s installation. A five-minute excerpt of that recording can be heard here.



Adapting Conditions: artist statement

The surprise. The attraction. The delight. The admiration. The sense of questioning. To visit Adapting Conditions is to engage in a process of curiosity and wonder.

 

The installation is a confluence of nature and biology. Nature itself has no intensions where humans are concerned, neither benign nor malicious. Its drive is amoral.

 

I research and consider scientific predictions about the future, as our changing climate brings humans and nature into contact in ways unknown in our history.

 

My sculptural installations are informed by the way humans and nature intersect at the micro level. Without scientific training, I am powerless to assess the implications of what I see under the microscope as I meticulously record the miniscule shifts of biological physical fortunes within our cells as images and drawings. I coax these images into dimensional shapes, gathering them into unsystematic clusters that form new organisms, like so much in nature, remains to be discovered.