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Review of Joan Hall: Marcus/Hall

Summer 2010
Summer 2010
:
Volume
25
, Number
1
Article starts on page
42
.

Helen Frederick is director emeritus of Pyramid Atlantic in Silver Spring, Maryland, and Professor and Director of Printmaking, School of Art, George Mason University in Fairfax, Virginia. She is noted as an artist, curator, and international project coordinator.    Joan Hall's large-scale works, up to 8 x 10 feet, combine papermaking and printmaking techniques using netting and multiple layers of translucent paper with shaped, cut Mylar, which she says gives them the "impression of floating images, conveying deep memory of time." She is inspired by the sea and fascinated by the biological fact that all of us have in our veins the same percentage of salt in our blood as that which exists in the ocean. The works in this exhibition—delicate layers of blue, red, and earth-toned abstractions—are kinetic and magnetic, ephemeral and saturated, revealed and concealed. They seamlessly shift our vision from reality to metaphor and leave us not only with many realms of poetic meaning, but perhaps a new sense of mobility as well.

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Hall teaches art at Washington University in St. Louis where she also directs Island Press, a collaborative print and paper studio established by her long-time friend and colleague Peter Marcus. For this exhibition, Hall shared space with Marcus who exhibited collagraphs. Upon careful inspection of Hall's piece Your Existence is Not Unlike My Own (2007, 2008, 2009; this work changes and increases in size each time it is installed), we discover that parts of the embedded round and oblong Mylar shapes carry words relating to cancer cells and suspect disease. Hall notes that medical experts today believe that the world's oceans may harbor the next generation of powerful healing drugs. "My quest to make this work is a personal one. Having sailed and navigated over 25,000 miles on the ocean, I have experienced its beauty out of the sight of land, and as a cancer survivor I am concerned that we stabilize our relationship with the ocean and the natural systems that underlie the planetary processes that keep us alive," states Hall in her writings. Hall recycles her fibers, using all of the cut-outs she has saved over the past years, and she beats kozo and gampi torn from already-made paper. She prints marks on the paper resembling nets and cuts sections with a scalpel to give them irregular shapes which emphasize movement. She then stacks a number of sheets one on top of another to negate traditional perspective, emulating the ocean which offers no navigational clues other than the endless line of the horizon. The piece Collision Course (2009) fulfills the anticipation, a heavily netted paper that appears caught in its own trap. In the end Hall's buoyant impressions successfully ask viewers to intuit phenomenal spaces such as water, wind, currents, and waves, and to appreciate interconnectedness in nature and its gifts.