Techo Floaties: A Autumn Ahn Installation

Image still by Quentin Crestinu, Performance for "Baigner" Video Triptych, Paris France, part of exhibition series by curatorial collective KSAT

Earlier this month, Dipster's hosted a rooftop art experience with visual best, Autumn Ahn. The unique event took your typical art gallery experience to the roof of Autumn's apartment building in Bushwick, Brooklyn. The experiment featured two unique pieces that were illustrated on the rooftops floor.  Autumn is an incredible multidisciplinary artist and visionary that often experiments with video, poetry, and installations to share her personal stories.

This day will go down as my most memorable day of Summer 2014 because of all the international people that gathered for one communal purpose, not to mention the incredible DJ lineup (Rio Bamba was my favorite). See my short Q&A to learn about what inspired Autumn to give her roof a new skin.

10423922_10102434369730350_167950492371270348_nWhat was the influence behind each piece?

"This installation is an extension of my series of mural works addressing spatial graphics and symbols of the body. I have wanted to have a pool party on the roof all summer, so I painted one. The pool was drawn in perspective from the top lookout. When looking down at the full space (total 75' x 56') the shape of the space decided the scale. I painted it at a size where the body could participate. As people walked, lounged, danced in the space, they became part of the drawing.

Next to the pool is a circle of feet. I knew when I met Chris and Danny (the founders of Dipsters) that the music energy I was looking for was in their taste. To enhance the pool vibe it needed music that would move our feet, get us sweating. The circle created a dance floor and glowed under the blue LED lights. I was looking at dance cards from early 19th Century and was reminded of the choreography foot instructions used for synchronized dances. I created my own dance space where the feet get messy."

When did you first realize that you were a visual artist?

"When I graduated school and spent every free moment I had to plan, participate or continue painting. It is a passion and a discipline. I went from large oil paintings for my final show to making even bigger paintings on walls with new materials. It was a response in removing the academic critique and a practical solution to continue making large work. This is when I began developing my practice.

Scheduling the time and assignments as structure for my projects I was able to maintain the discipline of studio practice. I had no reason to be picky about the spaces--I couldn't afford a studio and the priority was that I kept my hands and materials in motion. I also started working in a digital art gallery. The experimental and avant-garde pieces shown by these incredible programmers/researchers/and scientists from MIT introduced me to new conceptual application of materials and technical processes.

I was inspired to keep pushing my work beyond its boundaries. That is when I began exploring paint in space, paint as a drawing tool, paint as a communicative medium, etc. The site-specific interactions I had working in these spaces allowed me to continue to observe body language and the body as a form within a space. 

This work with three-dimensional space developed my understanding of the immersive environment--a compositional narrative I had previously developed within the frame of a canvas. I still continue to explore ways to conceptually push the framework of my art and am currently working with performance and documentation as themes to explore human behavior."


To view pictures of the immersive art party click here.


10527253_716709441735238_677106187478500664_nAhn's commitment to diversifying her technical foundation generates her multi-disciplinary practice. She received a BFA in oil painting from Boston University. After receiving her degree, she studied at Pilchuck Glass School and continued to seek out opportunities that required her to learn new sources of material and methods of application. Her art practice reappropriates the application of these techniques to address ephemerality and social consciousness. It is the variety of her formal training and life experiences in making foreign environments a part of her practice that informs her social research. Ahn's work reconstructs the allegorical identity using this research as documentary fuel for her productions of installations, performance and other process-based media.

To view more of Autumn's work visit her site and follow her on Instagram @apaxahn.



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