Page 71 - Novelist Post – J.D. Barker and more

work is two-pronged. Most importantly it grows out of my graduate school study of Northern Renaissance altarpieces whose panels open and close according to the liturgical season of the year and whose individual images are both nar- rative and, most importantly for me, meditative. It is because of this art historical connection that the box constructions that have doors opening to multiple views are called altarpieces. Seconda- rily, the box-constructed form grew out of my travels in Japan where small niche-like sculptu- res are erected in garden and roadside settings to mark particular places at which one is invited to pause, rest, and reflect.
The compositional hierarchy of objects within each construction is also influenced by both sources of inspiration. From Japanese art comes my aesthetic preference for spare images in which objects, negative space, and light play equal roles. From my medieval study of Early Christian and Carolingian mosaics comes an intuitive hierarchical arrangement of objects along a central axis with objects of increasingly secondary importance flanking the central image, as illustrated by Spirit. Over time compositions
Margo Klass’s visionary artistry turns humble materials into profound contemplative spaces, merging history, nature, and narrative with breathtaking precision and soul.
have become more asymmetrical, but I come back to this comfort zone of strict symmetry again and again.
Many of your pieces explore themes of architecture and space. How do these concepts influence your creative process?
In some important way my work is all about space - space as majestic as the massive mounta- in ranges in my home state of Alaska, and as ex- pansive as the ocean outside my studio window in Maine. My intention is to convey that keen awareness of space on a much smaller scale wit- hin my box constructions. To impart that sense of space, and to invite the viewer to experience it, I create images using found objects and then design their surrounding architectural spaces. The juxtaposition of positive and negative space, and interplay of light and shadow, is determined by the architecture of the box itself. The walls of the box define the interior space, while mica-fil- led windows and skylights provide pathways to guide light onto and around (and often behind) the objects.
This literal “construction” of space and light around the composition of objects has everyt- hing to do with my process. The composition of objects come first; the fabrication of architectural space and light complete the process - objects, space, and light playing equal roles.
How do you choose the found objects that feature in your work? Do they carry personal significance or follow a specific theme?
I seek out my objects on beaches and forest
In this captivating box construction, Margo Klass demonstrates her masterful ability to create sacred spaces through found objects. The piece features a central bird figure perched contemplatively, framed by natural elements like twigs and branches that extend vertically along the sides. The artist’s signature style of combining medieval altarpiece influence with Japanese aesthetic sensibilities is evident in the balanced composition and thoughtful use of space and light.
The earthy color palette and varied textures - from smooth surfaces to rough branches - create a harmonious dialogue between the natural and crafted elements. A hanging bell and window-like backd- rop add depth and spiritual symbolism. This piece exemplifies Klass’s talent for transforming ordinary objects into meditative sanctuaries that invite viewers to pause and reflect..
inspired a 6-foot long box-constructed artist book with niches containing 9 miniature books of Frank’s texts and 8 niches of object-images, including twigs, stones, and fish skin harvested on the trip.
What role does storytelling play in your art, particularly in pieces like those in Lives of the Saints?
trails, in waste bins and junk stores, and often
in drawers of discards. It’s rare that I respond
to what the object is literally, preferring to be drawn to its shape, color, material, or some other unnameable quality. When selecting objects
to join in composition, however, they begin to acquire meaning, not because of what they are literally, but because of what they symbolize, either abstractly or (sometimes) concretely. Over time certain kinds of objects have gathered more identifiable symbolism. Branches of trees, for example, can assume personhood, or chairs can stand in for my sense of self. Round objects, having a sense of perfect wholeness, become representations of the cosmos. I think of rocks and stones as nature’s most essential forms,
Lives of the Saints refers to a body of work directly inspired by my parents’ collection of authentic icons. Using found objects I compo- sed contemporary versions of historical icons, often playfully and never reverent. Following tradition, Frank gave our fictional saints attribu- tes and created their legends, short stories about contemporary characters - like a real estate agent, bully, or gambler - who might teach us
and, depending on where I collected them, can represent my relationship to Alaska’s wilderness or the rugged shoreline of Maine. This is an evolving process.
a lesson. Some of these saints are featured in a small self-published artist book, Lives of the Saints.
Your collaborations with Frank Soos have resulted in unique blends of visual art and text. How did this partnership influence your artistic vision?
My late husband, the writer Frank Soos, was my principal collaborator for over 20 years. His prose poems, written in response to my box constructions, were often exhibited alongside my work. My boxes and his texts talked to each other, although my intentions and his “takes” were often wildly divergent. A collection of these pairings were published in Double Moon: Constructions & Conversations (Boreal Books, 2009). Our last major collaboration was created during a BLM artist-in-residency on Beaver Creek, commemorating the 50th anniversary of the Wild and Scenic River Act. That experience
Are there specific artists or movements that have significantly shaped your artistic approach?
Dada artist and poet Kurt Schwitters (1887- 1948) is my hero. His Merzbilder were collages and relief constructions made of found materials marked by use and neglect. While he wasn’t alone in using such materials to create images with meaning beyond the literal, he was unique in creating large scale architectural spaces, called Merzbau, of such materials - whole rooms that must have made one keenly aware of physical and psychological space. In my much smaller constructions I strive for that sense
of space through the transformation of found materials.
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