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Re-Imagining Our Footprint: Stepahanie A. Siehr - Sphere of Reciprocity

Re-Imagining Our Footprint: Stepahanie A. Siehr - Sphere of Reciprocity

Regular price $300.00 Sale

Sphere of Reciprocity

12”d,  fallen sycamore branches, some with buds. twine. river stone. weathered wood base blackened with wood charcoal. linseed oil. Fallen branches gathered with gratitude under afternoon sky, bent and woven while feeling and listening, held in place with twine. center-stone intertwined as the sculpture found its own center of gravity. wood charcoal from last night’s fire offered to make a contrasting base to reveal the sculpture’s curves.

$300+ give shuumi tax to the indigenous people of the land you live upon.

in Albany/Berkeley/East Bay: sogoreate-landtrust.org

Artist Statement

“sphere of reciprocity #1” envisions 

footprint as circular

as wormcrawls create compost

as fishtrails bring nutrients

as wingbeats carry seeds

as treebreaths circulate ourbreaths

as handiwork makes shelter

as songs enchant through time ~

enjoy as the texture of this sculpture changes in subtle ways with season and light, 

as shadows of its form cast a gentle experience with time.

the earth will welcome this sculpture back without harm.

Bio:

Enamored of unabridged sky songs and urban sidewalk stories, Stephanie A. Siehr is a multi-media artist who creates with natural and found materials and the alchemy of photography. Her work is a dialogue with the spirit of materials and places, texture and light—enticing curves of vegetation and fruitful bodies in assemblages and sculpture, hidden glimpses of living landscape from 30,000 feet and 3 inches revealed in washes of color and photographs. Siehrmigrates between the bayside lands of the Ohlone and the golden foothills of the Nisenan, in what is now known as Northern California.

Artist’s Statement:

My art delights in the interplay of texture and motion, of form and light. the light! oh how the light makes magic every night and day, from subterranean sanctuaries to the all-embracing atmosphere. The process is visceral, embodied, beyond words, intuitive, so much feeling and engaging with the living spirit of everything. My training comes from the merest mention of technique and fortuitous encounter with exhibit: a photography class and darkroom stint amidst engineering studies at MIT, glimpses of sculpture by Arp, O’Keefe’s painted scenes of city and flower, the process of ink brush and raku in Japan, Goldsworthy’s engagement with landscape, enactments by Francis Alÿs. My work seeks to share what is beyond the apparent surface, what lives and loves in circular time. The transformation of bud to blossom, the shape of saxophone sound, the texture of embrace, the bustled impressions of collective footsteps and handholds on the floors and doors of cities—all this inspires. I hope you enjoy the many forms this art takes, collage of atmospheric particles and free radicals, photographic portraits of river ice in spring and stone elders on the shore, sculptures and assemblages of actions and dreams.