Voyage Corps Store is a 1971 Shasta Compact travel trailer that I have converted into a mobile art studio. For the purposes of this installation, the trailer was further converted into a small store of products. Visitors to the store were able to enter and peruse the inventory, as well as purchase items at affordable prices ranging from $1.00 to $12.00.
Coming from a culture of touring the country with musical groups, Voyage Corps Gifts and the Voyage Corps Store offer the “merch table” experience in an art gallery setting. In its previous incarnations, these products have worked as sketches and mockups for future works in print, sculpture, and installation. The store works as a proving ground, test market, and fundraising venture to simultaneously offer affordable art, raise money for future projects, and gauge public interest in experiments utilizing different materials, subject matter, packaging, and presentation.
The installation in the trailer mimics both the salon-style hanging of art galleries and the visual frenzy and eclectic, sometimes “slap-dash” organization of dollar store displays, working to over-stimulate the viewer in the claustrophobic space inside the 6’ by 9’ dimensions of the trailer.
This installation was shown at Maspeth’s World of Wheels on June 21, 2014 at the Knockdown Center in Queens, NY, and at the 2014 Truck Expo at the ICEBOX in Crane Arts Building on July 5, 2014 in Philadelphia, PA.
What follows are documentation photos of the trailer installed and then photo “ads” that played on a loop on a small digital picture frame inside the trailer during the exhibit. The soundtrack playing inside the trailer during the exhibitions can be found here.
A large scale reenactment of the table-top dice game of strategy and luck
a collaborative installation by Lauren Pakradooni and Mark Rice
The original game of 10,000 requires six standard dice and a pencil and paper for scoring. Each player starts out “off the table” with a score of zero. Players collect points in a variety of ways during their turn, either adding those points to their cumulative score, or “risking it all” by continuing to roll with a possibility of loosing all points they have accumulated in that turn if the correct scoring combination is not achieved. The first player to reach the score of 10,000 wins!
10,000 is a game taught verbally, passed from person to person at a party, a bar, a classroom, or other places where people congregate. As people learn the game they develop their own terminology for the types of scoring, methods of play, as well as variations on the name of the game itself. We introduced this game to attendees of Artscape 2014 in Baltimore, Maryland as a part of the interactive art exhibition “Field Day.”
Our submission for the Field Day exhibit was be a large-scale adaptation of this game. We constructed several sets of dice, the largest being six foam 12” cubes wrapped in silkscreened fabric . The usual playing surface of a bar or picnic table was transformed into an astro turf court with seating for spectators. The usual scoring device of napkin and pen was traded for a large chalk score boards. The usual exclusivity of the table-top version of the game was exchanged for an interactive and inviting environment for both players and spectators to learn the rules and cheer on their favorite players. Handmade prizes were awarded for top scoring players!
The installation was accompanied by a small gift shop where visitors to the installation can peruse and purchase souvenirs including dice-themed sportswear, silkscreen posters, patches, tote bags, and original miniature game sets.
Pictured below are documentation photos of the installation in action and on site at Artscape 2014, followed by photos of the products conceived for the gift shop, and then some shots on the work in progress.
Puzzle Tout Nouveau are one-of-a-kind paintings executed on salvaged and reassembled puzzles.
Puzzles are found, assembled, and then the image is rendered on the completed puzzle.
Finally, the puzzle is disassembled, and re-boxed in a salvaged and repurposed container with a reference photo and convenient viewing window.
This series of thirteen prints were created using a process called color reduction relief printmaking. The prints reference memories and stories associated with the ephemeral experiences of dating. This printing technique utilizes a single printing block to make an edition of multi-colored prints. For each color represented on the print, more of the surface of the block is cut away and its surface inked and printed. The imagery and color of the print are slowly built up with each successive printing, while the printing surface is being permanently removed. At the completion of the print, the linoleum block is all but carved away and can therefore never be reprinted.
All prints measure 4 inches by 6 inches and are hand-printed on rice paper in an edition of 5. The residing place of these prints is in a custom red portfolio.
Finished prints are pictured next to the final state of the linoleum block from which they were printed.
Additionally, a “postcard pack” was manufactured and released by Voyage Corps Gifts. It is available while supplies last and is pictured at the bottom of the page.
The Manliness of Peanut Butter and Jelly is a 41-page paperback book. The story is written by Travis Blankenship with illustrations by Mark Rice executed in ink wash.
Here is a description written by the author, Travis Blankenship.
“In The Manliness of Peanut Butter & Jelly, four young boys battle one another in a culinary competition as stomach-churning as it is heart-warming. Struggling to identify as men, these boys build their confidence in victory and the bonds established with others in a story that unfolds when the school cafeteria serves a dreaded pizza. Ink wash illustrations by Mark Rice highlight standout moments, as the tension in this essay by Travis Blankenship builds.”
Below is a link to purchase the book followed by some pics of the finished product.
Dear Dairy is a 8.5 x 11 inch college-ruled notebook that was passed back and forth through the United States Postal Service between artists Jeremy Kennedy (Los Angeles, CA) and Mark Rice (Philadelphia, PA) between November of 2012 and October of 2013. Themes of television, to-do lists, psycho-doodles, sports, cartoons, and “mental-drooling” predominate the conception of this work and responses were created to and with these ideas in an effort to continue and finally complete this conversation/debate/root beer party.
For more works by Jeremy Kennedy, please visit table-blue.com
Pages are displayed in sequence followed by a movie trailer-themed short video for the book.
During the summer of 2012, I commenced a new series of work with a large mural in Bloomington, Indiana, and several unsanctioned mini-residencies in strip malls across the midwestern United States. The mini-residencies were performed in a 1971 Shasta Compact travel trailer that I have transformed into a mobile art studio. During my time in residence, I camped, photographed, wrote, and sketched the landscape from in my little mobile aluminum cabin.
These “residencies” yielded a new series of paintings, drawings and sculptures offering a playful commentary on the advertisement and vast environment of the assorted strip malls and shopping plazas that populate the American roadsides. The immense scale and screaming color of the advertisements and signage in these areas contrasts greatly with the logos that conform to familiar layout, offering a feeling of anonymity to the potential shopper/camper/artist. While these areas have a dullness, emptiness, and overall sameness that makes them forgettable, it is this sameness, evenness, and familiar anonymous quality that allow these areas to generate a safe mental respite with an ominous potential for danger.
A simplified color palette and mixture of common, low-cost, and scavenged materials works to instill a high-art veneer that is thin-skinned. The creation of these compositions is considered as quick, fleeting, and disposable as the lifespan of the subjects they reference. These images present a type of picture that is aware of its own inability to achieve objectivity, as the Kodachrome snapshot or the text message. They revel in their own brevity and lack of subtle commentary as they address an environment focused singularly on a short-term existence.
The first installation shots in this photo set were part of a exhibition called “Kodachromia & Perspectrum” at the Hastings College Gallery in Hastings, Nebraska in March of 2014.
This work was also shown in Baltimore….Bloomington, Illinois…..and Spartanburg, South Carolina.
Thanks to those artists and organizers who put those shows together, and the folks that attended.