statement My new work employs both drawing and digital imaging technologies to explore the convergence of sport and art. I make work with the aid of a drawing device that is attached to a bicycle. The resulting work exists as a seismic series of drawings, which end up being an indexical record of my travels. These travels consist of training rides and short commutes, which essentially become training records, for more specific longer multi-day tours. The properties of this work engage the bicycle as a vehicle for expression, mark making, movement and endurance, while exploring ways cycling can potentially influence me both visually and physically.
I hold a background in printmaking, new media, and drawing. I embrace all of these tools to express my desire to explore my relationship with the landscape I interact with and inhabit. The wilderness became the impetus for my previous work and continues to be a driving force. In general, I'm interested in creating work to draw the viewer closer, to create an open space for contemplation, which the body and mind can then occupy. Drawing is a medium offering an open field for innovative practice, in which ideas can directly emerge and change with relative ease, further lending itself readily to the experimental and theoretical.
The device I use absorbs and relays motion, imprinting the drawing surface with marks that rely on chance and environmental elements. The specific environmental elements that become contributing factors within the works are ultimately changes in terrain and road conditions. By forfeiting full control of the drawing apparatus and letting the pen move with the rocking and vibrations of the bicycle, I resign some authorial responsibility within this work. Pushing the boundaries of how drawing is made, understood, and disseminated is something I am deeply interested in. I hope to encourage viewers to appreciate and share the joy of my bicycle rides, however esoteric that connection may at first appear.
Much of my studio practice is focused on the theoretical framework of "emptying" the studio space. This concept has become a meditative reduction, an erasure, and an attempt at drawing away from the world beyond the studio. Within this space the time for new beginnings or endings is made more present, more attainable, and the focus it fosters becomes an additional tool to aid creation. In turn each drawing becomes a performance in itself, testing the limitations of the bike, the riders endurance and the drawing.
bio
born: 1986, Black River Falls, Wisconsin
education
Tufts University/School of the Museum of Fine Arts, MFA, 2012
Minneapolis College of Art and Design, BFA, 2008
selected awards/honors
Artist-in-Residence, Department of Art, University of Arkansas at Little Rock, 2015
Artist's Grant, Artist-in-Residence, Vermont Studio Center, 2014
Presidents Award, School of the Museum of Fine Arts, 2012
Montague International Travel Grant, School of the Museum of Fine Arts, 2011
selected publications
South Dakota Governor's 6th Biennial Art Exhibition. Brookings, South Dakota: 2014
"Heidi Hogden - Boston, Massachusetts," 365 Days, 365 Artists. online: 2014
"Studio Sessions: Heidi Hogden," Big Red and Shiny. Interview with Matt Kuhlman, online: 2013
McQuaid, Cate, "6 Art School Grads to Watch," Boston Globe. Boston, Massachusetts, 2012
selected solo or two-person exhibits
Buckingham Browne and Nichols Gallery, New Work, Cambridge, Massachusetts, 2013
The McGladrey Art Gallery, Bentley University, Making Home, Waltham, Massachusetts, 2013
The Cornelius Ayer Wood Gallery, Middlesex School, Drawing Home, Concord, Massachuetts, 2013
The Elizabeth E. Beland Gallery, Essex Art Center, At Home, Lawrence, Massachusetts, 2012
selected group shows
Norfolk Arts Center, Faculty Faculties, Norfolk, New England, 2015
Alpha Gallery, New Talent, Boston, Massachusetts, 2012
Courtyard Gallery, Museum of Fine Arts, Boston, Topographies of Space: Between Somewhere and Nowhere, Boston, Massachusetts, 2012
808 Gallery, Boston University, A Taste of Boston, Boston, Massachusetts, 2011 |
