• MFA in Fine Arts

  • Andrea Gonzalez
    Byron Peters
    Jacob Wick
    Jaimie Healy
    Jordan Reznick
    Jsun Charles-Jeremiah Parizo
    Julia Robertson
    Julie Feldman
    Kenny Kong
    Nan Peletz
    Sadie Harmon
    Sara Sellitto
    Seth Gutierrez
    Tiffany Canter
    Tim Power
    Zoe McCloskey

  • Leora Lutz - CCA Graduate Thesis Events

    Leora Lutz

    mouth [(M)agenta, (O)chre, (U)mber, (T)aupe, (H)ot Pink]
    a polite conversation (print), Very Well (audio)
    The Color Wall (after Fahrenheit 451) with accompanying audio:
    Between Dystopia and Greener Pastures (installation)
    Temporary Repairs of Broken Monumoments and Rubbings of Nothing
    Study for Mirror, Balancing Act, Topographical Mirror and its Replica
    A place where books go to live.
    Books were only one type of receptacle where we stored things we were afraid we might forget.
    Parlor Games
    if by sea: sound poetic walk for Angel Island

    mouth [(M)agenta, (O)chre, (U)mber, (T)aupe, (H)ot Pink]

    dimensions variable

    projection with audio mash-up/ 2012

    a polite conversation (print), Very Well (audio)

    120" x 32"

    Epson ink on Matte Paper/ 2012

    The Color Wall (after Fahrenheit 451) with accompanying audio: "451 (prelude)" and "You Don't Stay for Nothing"

    96" x 48", projection variable

    color transliteration of the alphabet, audio works incorporating piano transliteration of text, filed recordings and samples from Fahrenheit 451 film/ 2013

    Between Dystopia and Greener Pastures (installation)

    20' x 8'; various individual dimensions

    glaze on acetate, charcoal on bleached linen, charcoal on Archeology dust jacket, pages from geology book for children (snow and cave)/ 2013

    Temporary Repairs of Broken Monumoments and Rubbings of Nothing

    installation

    charcoal, drywall, pages for a French lesson plan book for conjugating the word "love", bleach on black bedsheets/ 2012

    Study for Mirror, Balancing Act, Topographical Mirror and its Replica

    72" x 48" x 72"

    footprints on drywall, sand, charcoal on acetate, charcoal on glass, Epson in on back light photo paper/ 2012

    A place where books go to live.

    96" x 48"

    drywall, acrylic, cotton, sheet music, bleach on green screen paper, bleach on black paper/ 2013

    Books were only one type of receptacle where we stored things we were afraid we might forget.

    approx. 24" for each item, installation

    drywall, acrylic, bleach on t-shirts, cotton, fence post/ 2013

    Parlor Games

    120" x 96" x 72"

    drywall, charcoal, paper, fence posts, chain, silk charmeuse, bleach, fiberglass insulation/ 2012

    if by sea: sound poetic walk for Angel Island

    4 stops on perimeter road surrounding Angel Island with audio listening kiosks

    field recordings, historical narrative http://soundpoetic.weebly.com/sound-poetics.html / 2013

    mouth [(M)agenta, (O)chre, (U)mber, (T)aupe, (H)ot Pink] thumbnail
    a polite conversation (print), Very Well (audio) thumbnail
    The Color Wall (after Fahrenheit 451) with accompanying audio:
    Between Dystopia and Greener Pastures (installation) thumbnail
    Temporary Repairs of Broken Monumoments and Rubbings of Nothing thumbnail
    Study for Mirror, Balancing Act, Topographical Mirror and its Replica thumbnail
    A place where books go to live. thumbnail
    Books were only one type of receptacle where we stored things we were afraid we might forget. thumbnail
    Parlor Games thumbnail
    if by sea: sound poetic walk for Angel Island thumbnail

    leoralutz@gmail.com

    www.leoralutz.com

    Artist Statement

    My ideas track and hold allegories of
    philosophy, music and literature
    which I then translate, transcribe or build into
    objects, projects and installations
    that speak in poetic narratives.
    
The work alludes to a gap in the moment
    between a beginning and an aftermath.
    The gap dismembers the puzzling bonds that transpire
    when the unexpected happens while
    people connect/communicate/interact
    with each other and their surroundings.

    In making things,
    ideas becomes distilled,
    leaving shadows of past actions and
    remainders of human presence.
    The ephemeral, intangible and disappearing qualities of
    history become captured in my work
    through the presence of touch,
    called out in haptic gesture and meticulous patterning .

    Both awkward and elegant solutions reiterate
    the performance of imperfection and the desire for resolve.
    To quote Emerson, “Every touch should thrill”.

    The things I make are the “first impression”.
    From there, others are invited to get
    to know the work better over time,
    (not much different than a relationship, really).
    Generosity of interpretation is laid bare for the viewer when I leave the work
    and then new conversations can begin.