"Artist Talk"
with
Loren Eiferman
Sculptor
with
Loren Eiferman
Sculptor
Myrna Haskell, managing editor, enjoys attending “artist talks,” exhibitions, open mics, and live music events to see artists in their element, to enjoy the vibe in the space and to meet creatives and others she interviews in person. Typically, she attends at least one of Barrett Art Center’s “Artist Talks” associated with their national/international juried exhibitions.
Since EARTH WORKS: Art in Ecological Context is now a virtual exhibition and "Artist Talks" have been cancelled, she called Loren Eiferman, whose work was chosen for the exhibition, and spoke with her about current and past projects, the healing power of nature and the life of an artist during the current pandemic.
Since EARTH WORKS: Art in Ecological Context is now a virtual exhibition and "Artist Talks" have been cancelled, she called Loren Eiferman, whose work was chosen for the exhibition, and spoke with her about current and past projects, the healing power of nature and the life of an artist during the current pandemic.
Loren Eiferman in Her Home Studio
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“It’s my belief that nature/Mother Earth has the fierce power to heal and clear our mountains of plastic, garbage and all the produced detritus that currently pollutes our planet. Hopefully we as the human race will still be around to witness this cleansing.” ~ Loren Eiferman |
Your piece “Nature Will Heal/Electronics,” which was chosen for Barrett Art Center’s EARTH WORKS: Art in Ecological Context, is part of your sculptural series “Nature Will Heal.” Describe how Mother Nature heals despite man’s often careless imprint.
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There are seven different pieces in the series – all wood sculptures. The idea came to me while cleaning out the basement. I had these giant garbage bags filled with my daughter’s plastic toys. I had to ask myself, ‘Why am I saving these things? What am I doing?’
I enjoy taking walks in the woods near my home, and I collect branches which have broken off of trees. You can see how things break down into mulch in the woods. So I created pieces using nature’s detritus to [envelop] the produced detritus that man leaves behind. Mother Nature is fierce and powerful. It doesn’t matter how terrible the disaster…she is reborn. After a massive forest fire, things will start to sprout from the ground just weeks later. Nature can also be violent. It might decimate a culture – look at Pompeii. But this new growth emerges. The series is about Mother Nature’s fierce strength that heals the planet of detritus – the pollution made by humans. I wanted to shine a light on this. |
Nature Will Heal/Electronics
© Loren Eiferman |
Do you feel this piece (and/or the series in general) particularly resonates due to the current pandemic we’re experiencing?
I do. The whole idea that Mother Nature can heal is happening right now. All over the front pages it’s being reported that the air quality has gotten better…over China…over Italy…it’s improving around the globe. There’s been a reduction in seismic noise as well…the vibrations in the planet’s crust have decreased. The earth is responding to this crisis, and there are positive things coming out of it.
Does most of your other work reflect man’s influence on our natural environment?
I’m inspired by many things, such as looking at how a plant grows. I work with an idea until I feel it’s finished. Then, I move on to another series.
Right now, I’m working on my Voynich Manuscript Series. The Voynich Manuscript is written in an unknown language by an unknown author. The pages are filled with plants that don’t exist in nature. It’s housed at the Beinecke Rare Book & Manuscript Library at Yale University. I found it while scrolling online. I had this immediate, deep connection to it – it was totally bazaar. I felt like it was something I had done. The drawings look like something I would draw, and the manuscript seemed to have been written by a woman. I wanted to recreate these drawings by translating the illustrations into sculptures. They have wacky roots, and parts of the plants are out of proportion. They’re mainly done in wood, but I’ve been painting a lot of them now.*
*A couple of pieces were chosen for an exhibition at the Bedford Playhouse, but no one can go in to see them in person due to the pandemic.
You’ve said that your work is “the ultimate recycling.”
It starts with a walk in the woods and branches that have fallen to the ground. It’s a whole new recycling process. Instead of the branches being recycled into the earth, they are made into art.
I do. The whole idea that Mother Nature can heal is happening right now. All over the front pages it’s being reported that the air quality has gotten better…over China…over Italy…it’s improving around the globe. There’s been a reduction in seismic noise as well…the vibrations in the planet’s crust have decreased. The earth is responding to this crisis, and there are positive things coming out of it.
Does most of your other work reflect man’s influence on our natural environment?
I’m inspired by many things, such as looking at how a plant grows. I work with an idea until I feel it’s finished. Then, I move on to another series.
Right now, I’m working on my Voynich Manuscript Series. The Voynich Manuscript is written in an unknown language by an unknown author. The pages are filled with plants that don’t exist in nature. It’s housed at the Beinecke Rare Book & Manuscript Library at Yale University. I found it while scrolling online. I had this immediate, deep connection to it – it was totally bazaar. I felt like it was something I had done. The drawings look like something I would draw, and the manuscript seemed to have been written by a woman. I wanted to recreate these drawings by translating the illustrations into sculptures. They have wacky roots, and parts of the plants are out of proportion. They’re mainly done in wood, but I’ve been painting a lot of them now.*
*A couple of pieces were chosen for an exhibition at the Bedford Playhouse, but no one can go in to see them in person due to the pandemic.
You’ve said that your work is “the ultimate recycling.”
It starts with a walk in the woods and branches that have fallen to the ground. It’s a whole new recycling process. Instead of the branches being recycled into the earth, they are made into art.
Loren with one of her works at Hudson Valley MOCA (2019)
Photo Credit: Maksim Akelin Photography |
I have a giant stick pile in my office. I let the sticks sit for a while to cure. Then, I start with a drawing...looking for where I want the sculpture to go by carefully observing the natural shapes in the sticks. The pieces are cut and joined together using dowels. [A sculpture can be made out of 100 pieces or more.] Then, a putty is made with sawdust and glue to fill the joints between the pieces. This is done three times so the joints become seamless.
I read that it takes a minimum of one month for you to complete a sculpture. What is the most difficult part of the process? Sometimes I have the whole thing laid out and mostly done, and I have to start all over. My first reaction is that I don’t want to because of all the time put into it. But how do you fight vision? I have a stronger need to make what I envisioned the sculpture to be. |
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What materials have you used to sculpt besides wood? I’ve worked with clay (sculpted portraits) and paper mache. I was commissioned to do a project for MTA Arts & Design (for the Pelham Metro North station) – 8 railing panels. I made the pattern, and then a fabricator created the pieces because I don’t work in metal. I would like to make my wood designs into aluminum or bronze at some point, though. I would need to make a mold and then the metal is poured. But this is extremely expensive. |
Loren's Design for Pelham MTA Arts & Design Project
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We’ve all had to adjust to this “new normal” – social distancing and closed galleries and art centers. How have you adjusted your work schedule? Are you doing anything virtually to try to connect with art enthusiasts and potential buyers?
The good news is that I'm working constantly and getting a lot done.
But on top of the physical isolation, we lost power and had no internet for a couple of days. It was like being in an apocalyptic bubble. I try to block out the noise and find the deeper strains that unite us – the thread of human connectivity that unites us all. This is what I’m trying to do through my work.
It’s interesting…but artists are used to working alone; so, like others, I’m used to it. Sighing…I’m cooking and cleaning way more, though. I’m also on Instagram a lot. I’m using Instagram to join virtual exhibitions and to see what others are doing.
The good news is that I'm working constantly and getting a lot done.
But on top of the physical isolation, we lost power and had no internet for a couple of days. It was like being in an apocalyptic bubble. I try to block out the noise and find the deeper strains that unite us – the thread of human connectivity that unites us all. This is what I’m trying to do through my work.
It’s interesting…but artists are used to working alone; so, like others, I’m used to it. Sighing…I’m cooking and cleaning way more, though. I’m also on Instagram a lot. I’m using Instagram to join virtual exhibitions and to see what others are doing.
Loren Eiferman is a New York-based artist whose wood sculptures have been exhibited extensively throughout the Tri-State Region - from galleries in New York City to galleries, alternative art spaces and museum exhibits in the Hudson Valley Region of NY and Connecticut (including Katonah, Neuberger, Hudson River, New Britain and Dorsky Museums). Her work is also included in numerous corporate and private art collections. In 2014, she was commissioned to create decorative railings for the NYC MTA.
