Today we’d like to introduce you to Amanda Marder.
Amanda, please kick things off for us by telling us about yourself and your journey so far.
I’m that kid who was infatuated with creating and using my hands. Growing up we had to be resourceful and earn our own way at a young age. I am born and raised in Brooklyn, New York. From a young age, I can’t claim to have done anything very traditional in terms of entertainment as a kid.
My mother was a graduate of the High School of Art & Design which heavily influenced my passion for art. Instead of daycare, I would attend classes at Pratt, a family friend worked there so I would hang out there. New York City public schools allowed kids to “concentrate” on certain disciplines such as theater, art, performance, sports, etc. in addition to their regular studies.
I’ve always just been that art kid, one day at school a kid told me he was learning to weld. So, at 13yrs old I started to learn to weld in Redhook out of these ladies shed in her backyard. Which lead me at the age of 15yrs old to take metalsmithing classes at the Fashion Institute of Technology that they provided for high school students. After 2 yrs. of attending their summer programs I also started to attend Art Students League to learn more about welding. At 18yrs old I moved to Savannah, GA where I earned my BFA in metalsmithing and minored in sculpture. Graduated early and moved to Chicago, IL for a job in mass jewelry manufacturing where I was employed for 2.5yrs. I then earned a position at Cooper Technica, Inc working with vintage automobiles.
On September 11, 2013 I was involved in a motorcycle accident where both my co-worker and myself were fortunate enough to survive. After 9mo-year learning to walk, I was offered a Teaching Assistant position at the University of Texas at Dallas and the opportunity to earn my Masters of Fine Arts from Arts & Technology Emerging Communications. May 2018, I earned my MFA and continue to show my work around Dallas. My upcoming solo exhibition is on August 11, 2018 at the Umbrella Gallery. Artistically, I go by A.K. Marder.
Outside of creating, I’m a rock climber. I try to get out of the city, pack up the car with my dog, gear and friends to go camp and climb. Nature is a big influence on my art and my mental health.
Can you give our readers some background on your art?
My research involves digital fabrication; the process of additive and subtractive rapidprototying. My work merges digital fabrication with traditional fabrication. Using 3D modeling, 3D scanning, and high-resolution rendering enables traditional work to be executed at a higher quality with an effective use of resources. Comprehending my audience’s perspectives, the use of their ambiguity heavily influences my compositions.
Due to this process, the work produced is precise and easily manufactured. Traditionally work can be envisioned on paper and or with clay. By creating 3D models, I am able to create my visions with ease. Instead of creating fragile maquettes, these ideas can be created on the computer and digitally rendered at a high resolution in an easily readable format. Scale, proportions, material and orientation can be easily be modified for varying compositions. With the use of 3D models, compositions can be manipulated in un-limiting ways; opening a multitude of perspectives. Merging the world of digital fabrication with traditional fabrication.
I have two series of work I am focusing on currently, “Give or Take” and “Drawing with Light”. My body of work “Give or Take” has grown from my research and demonstrates my proposal in redefining traditional fabrication processes with the aid of modern technology. Conceptually, this body of work focuses on the reality of the ambiguity of the audience. An audience can be guided through the artwork but depending on the type of person/people they are; their interpretations will vary. Between optimistic and pessimistic viewpoints, everyone will have their unique association to the work. An audience can only be shown a perspective they are open to envisioning. “Give or Take” has branched out in many sculptural forms and utilizes spaces in unique ways.
“Give or Take” consists primarily of hands as the subject. The work has turned into a series of installations. The very first installation was purely composed of white polyurethane casted hands that were either 3D modeled to be low poly count or life molded and casted. The color used in the work is white. Defined by color theory; is the absence of color. Eliminating as many variables as possible is the primary goal of my concept. Variables inhibit the imagination, manipulating and controlling those variables help to guide the perspective of the audience. The simplicity of the hands leaves it open to interpretation, allowing the audience to apply their own personal association to the work. The 3D modeled hands vary in three different sizes, the life casts are all unique one offs. Status, race, gender can be assumed by the audience when addressing the 3D modeled hands. Positioning the hands is where as the artist, has control over the power and impact of the installation. My work is heavily influenced by Matteo Pugliese and Lene Kilde sculptures where they only isolate portions of the human figure. These isolated views force the focus of its viewer to really observe the orientation, form, color, material and emphasis the subject has on its surroundings. By following a similar suite, I am eliminating other variables from my installation that could distract the viewer. “Give or Take” has expanded into a series and is conceptually represented in numerous materials, colors and environments.
“Drawing with Light” series is a body of work that focuses on shape, form and manipulating light. Foundation of the sculptures begin with a 3D model generated in under 5min. The 3D model is then altered and lowered in poly count to create an over simplified and geometric shape. Using another program, I unwrap the 3D model and use its mesh to create a 2D file for laser cutting. Once my file is laser cut out of cardboard, I assemble the pieces together to bring the shape into the physical. The cardboard prototype is used as a bust to weld on top of (yes it occasionally starts small fires so I keep a spray bottle filled with water on hand).
Once the welding is done, the cardboard is removed and I am left with a metal line drawing of the object. Each sculpture is unique incorporating LED’s, acrylic panes, and mounted in various ways. This series is an exploration of working with light and using the casted shadows as part of the pieces. I create unique pieces based off of a potentially mass manufactured object. Another minimalist approach in appearance that took meticulous and precise applications.
Do you think conditions are generally improving for artists? What more can cities and communities do to improve conditions for artists?
Dallas, TX has been a flourishing and nurturing art scene from my impression. I moved here from Chicago, IL in 2015 and couldn’t be happier. Quite literally there are opportunities everywhere from markets, festivals, galleries, shows, etc. The Nasher Museum offers a grant that I have known personally has dramatically helped out students who have earned it. While attending UTD, John Pomara and Greg Metz, both professors within Arts & Humanities went to great lengths networking us outside of UTD as well as ensuring we had places to exhibit our work, meet local artists and got us tours at galleries/museums. As an MFA student, I received my own private studio on campus so I had a safe place to work and store my materials.
Prof Andrew Scott developed a 3D studio space and designed a shop for us as community space to produce and design. My belief is that art is being looked at in a whole new perspective. For a very long time, parts of my family did not understand what or why I do what I do. Some still don’t understand but they are now more open to it because more people are appreciating the arts as more than just “arts & crafts”. It makes the biggest difference surrounding yourself with people who wish to support and take interest in what we do as artists.
Dallas has definitely provided open arms to artists. Galleries are getting creative and offering free pancakes on certain days just to get people interested. Some of my best nights in Dallas is gallery hopping, many are open late (during certain seasons) and always an abundance of creative people opens to starting up conversation with a stranger.
What’s the best way for someone to check out your work and provide support?
August 11th, 2018 – Umbrella Gallery, Dallas TX (show will be up for approx. 2 mo.)
Website – TBD
Contact Info:
- Email: akmarder.designs@gmail.com
Image Credit:
Moss Murphy – profile photo, A.K. Marder – all photos of work
Getting in touch: VoyageDallas is built on recommendations from the community; it’s how we uncover hidden gems, so if you know someone who deserves recognition please let us know here.
