EXTRA: an ongoing conversation about art

KEVIN TAYLOR | “CENOTAPH”

February 3, 2012 – 12:17 pm

IN THE ARTIST’S WORDS:

In “Cenotaph,” the Great White Shark is sacrificed as a living monument. It has no predators other than man and even those sympathetic to its plight simultaneously fear it. The Christ-like visage represents man’s earth-based liaison unto the spiritual world as he erects a structure to assist humans in their acts of worship.

The “natural” world responds to this seemingly absurd behavior: a crow’s interaction with evil, the serpent, inspires chaos within a flock of birds… hoofed creatures below are respectively careless, outraged, and concerned… they see little more than their animal brethren undergoing crucifixion in the name of human selfishness and ego. In an attempt at resolution, a jellyfish chances the balance of neutrality and conviction while making efforts to align the disparate parties.

Through religion humans negotiate earthly purpose, making it possible to proclaim superiority within the macrocosm and veil the reality that we are no more or less than blades of grass.

KEEPER’S KEEP | AGGIE ZED | HALSEY INSTITUTE

January 27, 2012 – 10:34 am

Currently on view at the Halsey Institute of Contemporary Art are the works of Aggie Zed in the exhibit Keeper’s Keep. Curated by Halsey director Mark Sloan, the works of Keeper’s Keep were created specifically for this exhibit and include sculptures, paintings, drawings, installations, and pages from the artist’s sketchbook. Charleston born artist Aggie Zed grew up on Sullivan’s Island and attributes much of her inspiration to living there and the “mental landscape” that she created growing up. Zed describes Sullivan’s Island as being a “magical place full of animals to tame and catch.” Zed’s works address the realms of animals and people, issues of technology, ecology, and most truly, the human condition.

Keeper’s Keep is a MUST-SEE! On view until March 10, 2012.

In the words of Mark Sloan:

On Aggie Zed’s following:

About 60 of Aggie’s collectors came in from all over the US for this opening—California, Chicago, Boston, and a passel from Richmond, VA where she lived for many years. Her work is a bit of an acquired taste. It is not for everyone. But for those who like it (internally, we call them ZED HEADS) her work is a kind of rapture. Her dreamlike world is pure imagination and wonder.

On the events leading up to the Halsey show:

I met Aggie in Richmond in 1983 when I was a graduate student working at Virginia Commonwealth University’s Anderson Gallery. I helped install one of her really fragile pieces, and became enamored of her work at that time. Since then, I have lived all over the country (San Francisco, upstate New York, etc.) before moving to Charleston in 1994. In 1995 or 1996 I saw a show of her work at Nina Liu’s gallery here in Charleston. Then, a few years later, I saw that she was having a show there and I went to the opening to re-connect with her. She was still producing amazing work. Then in 2002 or so, I asked her to consider doing a show with the Halsey and she said she’d like to think about it and “stew on the idea.” We kept reconnecting when she would come to town, and finally in October of 2009, she agreed to commit to a show.

On the evolution of Zed’s work in the 27 years he has known her:

It has continued to delve deeper and deeper into the human condition.

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