Krista Peters

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Artist Statement

“The human being is a creature of distance! And only by way of the real primordial distance that the human in his transcendence establishes toward all being does the true nearness to thing begin to grow in him.”
How can one intimately engage with an expansive distance; the space between two mountain ranges, the distance across a landscape, the view outside your window, from a room you reside in to another you are deeply connected with? Does the rate of perception of an intimate space differ from that needed to perceive landscape? I am interested in how one place can meet another, for one space to move beyond itself, reach outside itself and pull another in.   How can one engage, move with, encounter another body through distance, what if that distance is time? I am interested in how one body can encounter, meet, move with another through place and material, when the physical meeting is slipped out of time. Current motions engage in resonant motions and a dance is formed, through place, temporally expanding the present.

I am interested in the possibility of the projected body or conjured body maintaining a similar relationship to the concrete body in place. Through my practice, working on site at specific locations has played a large role in the development of my understanding of places that still carry layers of actions of many past functions in relationship to a body. I am drawn to locations and places that have long been occupied but currently inactive. As if the body has yet to be detached from its placeness, with the feeling of the body and its motions still present. My interest within these locations are in the engagement with a body that may move slower in time opening up to the actions of past and future bodies, entering into a conversation with generational movement and the collective body.
Within objects, I consider the differences of material and matter; material normally thought of as a substance with a given or determined utility, while matter is far more indeterminate and normally void of a specified potential use. The utility of material is dependent on the human body, the body performing an action. Each material’s use is suggestive of the motion of the body engaged with it; each relationship is a physical one. Similarly to matter and material, the difference between place and space is split by their relationship to utility or action that is programed within it or resonates from it. Place has a direct relationship with a given action, use or location, while space has a more ambiguous association with our relation to it. In recognizing the layers in which utility/action striate a material or place I begin to recognize the phenomenological reaction that occurs in association with objects or places utility, openness, and determined potentiality.

i Heidegger p. 261 – Casey, Edward. The Fate of Place, A Philosophical History. University of California Press. 1997.

 

CV

EDUCATION
2015
Milton Avery School of the Arts, Bard College, MFA Sculpture, Annandale-on-Hudson, NY.
2007
Barnard College, BA Philosophy, New York NY.

SELECTED EXHIBITIONS
2016
Raylets, Radical Abacus, Santa Fe NM.
2015
CCCC, White Columns, New NY.
Initial Conditions: Artists Make Spaces, Franklin Street Works, Stamford CT>
2014
Bard MFA Thesis Show, Red Hook NY.
Teen Glazed / CC club, Jane Harstock Gallery at Greenwhich House Pottery, New York NY.
Somewheres & Nowheres, International Print Center of New York, curated by Nicola Lopez.
2013
Gymnasia, 4:00am, Cleopatra’s, Brooklyn NY, in collaboration with Rochelle Goldberg, Matthew Schrader and Dmitri Hertz.
AWARDS AND GRANTS

2011
Opportunity Grant, New York Foundation for the Arts, New York, NY.
2010
NYFA Fiscal Sponsorship, New York Foundation for the Arts, New York, NY.
2009
Cultural Funding Program Grant, City of Austin, Austin, TX.
Art on Paper, LBI Foundation of the Arts & Sciences, Long Beach Island, NY