Liljana Mead Martin


Artwork
        Geophilia    
        Negative [Space] Interface
        Stone Witness
        Night Blooming Cereus
        Inside the Day was Night
        Work Sets
        Pallas of Crushed Shells
       
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Publications
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Mark


Negative [Space] Interface. 2021

Ink monoprints on paper, on panel.




Included in the online exhibition and publication, BIOMASS, Volume 1. Eve Tagny, Alexis L.-Grisé, Liljana Mead Martin, Emily Chudnovsky, Steven Cottingham and Justin Apperley.


BIOMASS looks at art through the lifecycle of material and energy. Artists consider their practices in highly dimensional ways, BIOMASS brings these realities and nuances to the fore through featured works and dialogues on practice.

The term biomass is used most often within the energy industry, typically to describe forms of burnable “waste” material used to create heat and electricity. The term’s origins are more overt, bio means life, mass means volume. From these two meanings we find a charged yet expanded perspective through which to experience art and its making.


Interview Excerpt:
“ This year I began a new body of research, stemming from a curiosity in west coast forests and some zoning terminology called the Wildland Urban Interface or WUI zones. It’s basically a transition zone between what is considered wildland and new areas of human development, often these are on the fringes of more densely populated areas, in wilder areas. Communities in these zones are very vulnerable to wildfires and in simple terms their presence disrupts an existing ecology. But it’s complicated, because as cities become more expensive people want to have their own space - causing drift and sprawl in areas that can’t necessarily sustain that many people. I mean, it takes tons of energy and resources to extend the grid. I was drawing from that research to create these works that suggest architectural shapes, specifically thresholds to homes or buildings.”


For the full interview and exhibition see, https://biomasssss.com/