by Reggie Rodrigue
Stephanie Patton, “Intersection,” vinyl, batting and muslin, 2013, 62 x 60 x 4 inches, photograph courtesy of Arthur Roger Gallery
Troy Dugas, “Rye Whiskey Blue,” vintage labels mounted to paper, 2012, 72 x 72 inches, photograph courtesy of Arthur Roger Gallery
Patterns. They’ve always held a fascination for us. We divine them from nature. We see them emerge in our own lives. We reconstruct them. We interpret, alter and interpolate them.
In truth, being able to see, recognize and interpret patterns is crucial to the survival of the human species. Without some sort of pattern recognition, no higher-order organism could function or survive or be called a higher-order organism, for that matter. This is because pattern is intrinsically linked to organization. Pattern is in our DNA, our brain structure, along with the rest of creation.
Pattern is also that upon which we build our digital lives and affect change in the real world of the 21st century. In the digital realm, we use complex algorithms – a finite set of mathematical procedures performed in a proscribed sequence – to compute vast amounts of data that would otherwise be impossible to do without algorithms. From these computations, we can begin to interpret patterns in the data. By doing so, we can better understand a pattern that may be an invisible or underlying cause of an issue which confronts us such as climate change, traffic flow or any number of other complex problems that are bigger than one mind can bear.
Currently at the Arthur Roger Gallery in New Orleans, two Lafayette, LA artists who bring pattern to the fore in their own works are exhibiting: Stephanie Patton and Troy Dugas. Within both bodies of work, the two artists begin with a simple premise, a minimum of materials, and a highly repetitive process. However, their finalized works speak to the complexity, beauty and meaning that can unfold from such humble and rudimentary origins.
Stephanie Patton is a multimedia artists who currently lives and works in between Lafayette, LA and New Orleans, LA. She received a BFA in Painting from the University of Louisiana at Lafayette in 1993 and an MFA in Photography from the School of the Art Institute of Chicago in 1996. After this, she spent some time living in New York City, engaging in the art scene there as well as taking classes with the Upright Citizens Brigade Theatre, where she honed her skills as a comedian. In 2001, Patton returned to Lafayette, LA and continues to grow her career as an artist as well as an educator. She also became a member of the wildly successful New Orleans artists’ collective, The Front.
Stephanie Patton, “Strength,” vinyl, batting and muslin, 2013, 79 x 79 x 15 inches, photograph courtesy of Arthur Roger Gallery
Stephanie Patton, “Valor,” vinyl, batting and muslin, 2013, 81 x 81 x 15 inches, photograph courtesy of Arthur Roger Gallery
Stephanie Patton, “Meeting,” vinyl, batting and muslin, 2013, 55 x 86 x 17 inches, photograph courtesy of Arthur Roger Gallery
Patton’s exhibition at Arthur Roger Gallery is titled “Private Practice.” The title is now part of a running joke with Patton’s work. Her last exhibition at The Front was titled “General Hospital.” Both titles refer to soap operas/dramas centered around doctors and medical environments.While the thought of naming one’s art exhibition after such processed cheese from television is extremely humorous, there is another point to the titles. They offer a point of entry and a certain amount of accessibility for the viewing of Patton’s Postminimalist works. The titles – with their allusions to drama, tension, sickness, healing and recovery – give viewers a clue that Patton’s works are more than just exercises in design and pattern.
Most of the works on display in “Private Practice” are quilted and shaped wall sculptures composed of white vinyl, batting and muslin, which hover and undulate before the viewer like some sort of hybrid between a cloud, a work by Frank Stella and a mandala. The works are anodyne, yet forceful and rigorous. Patton has found a way to take soft materials associated with rest and transmute them into a series of objects that speak of strength, presence, perseverance, and healing. It is an impressive feat, and viewing these pieces puts one in the frame of mind to think about, not only the more abstract and metaphysical ideas engendered in the work but, also, the thought, time, work, skill and care that went into sewing and composing it.
Stephanie Patton, “Conquer,” Video, 8 minutes 8 seconds, 2013, photograph courtesy of Arthur Roger Gallery
The real tour-de-force of Patton’s exhibition is a video, however. “Conquer” is 8 minutes and 8 seconds of gut-wrenching pain and claustrophobia followed by sublime relief and stoic transcendence. The video begins with a close-up of Patton’s head, neck and shoulders covered in a tight latticework of band-aids which gives her the look of a badly sculpted, clay bust. She stands before her work “Intersection.” The work acts as a formal backdrop to the action in the video. The action begins with Patton searching for an appropriate band-aid to pull. She finds one, and then … RIP! The pain of the action is palpable, and it just keeps going for what seems like an eternity of band-aid ripping; however, it is riveting. One winces and squirms while Patton steadily removes her dummy mask, keeping time with the sounds of her breathing and those nearly interminable separations of adhesive bandage from flesh. By the end of the video, Patton’s full face emerges from its cocoon. One can almost feel the blood coursing through her inflamed skin. Her wide, watery eyes stare out at the viewer with a startling amount of restraint; yet, there is also much in the way of clarity, openness and beauty in her gaze as well. It’s a brief moment of silent reflection and equanimity … and a challenge to the viewer to move through whatever pain is stifling his/her life into a similar state of unshakable grace.
If you would like to view Stephanie Patton’s video “Conquer,” please follow this link to the Arthur Roger Gallery website.
Troy Dugas, “St. Jerome #4,” European liquor labels on paper, 60 x 60 inches, 2012, photograph courtesy of Arthur Roger Gallery
Troy Dugas, “Fragancia,” cigar labels on cut paper, 47 x 47 inches, 2013, photograph courtesy of Arthur Roger Gallery
Speaking of unshakable grace, artist Troy Dugas has that in spades as well. One needs such things to produce work at the same caliber as Dugas’ vintage label collages.
Early in his professional life, Dugas began working with a particular form of collage that involves using duplicates of the same image, rather than the usual pastiche of dissimilar images and materials that typifies most collage. To put it in mathematical terms (which somehow seems fitting), if the usual form of collage is a process of addition, then Dugas’ form of collage is a process of multiplication – amplifying a single element into what seems like an ecstatic, geometric infinity of pattern. In earlier works, Dugas used identical, vintage prints of ships at sea and flower arrangements to create images that mimicked what one would see if one were to look at the original images through a prismatic lens or the compound eyes of an insect.
Today, the focus of Dugas’ work is on creating abstract designs, second-hand portraits and still lifes with large quantities of vintage product labels.
Dugas abstract works mimic sacred geometry, calling to mind the sort of patterns one would find in a church, mosque or temple. From afar, they take the form of mandalas and are quite meditative in their overall impact.
For the uninitiated, the shock comes when one realizes that these exquisite works are made of old labels for liquor, cigars, fish and canned vegetables, among other commodities. At first, discovering this is a wonderful surprise; however, if one thinks about the meaning behind such work long enough, one reaches a gray area where marketing and spirituality rub shoulders a little to comfortably with one another. This forces one to wonder whether these are glorified advertisements or the sincere works of an artist on his own spiritual path. Personally, I tend to think the latter is closer to the truth.
In an age where everything, including our own digital lives on social media websites, is a product to be marketed and advertised ad nauseum, it is difficult to find a space for reflection and spiritual pursuit that eludes the dictates of “the market.” While Dugas’ works are certainly part and parcel of the overall system of capitalism (they are being sold at New Orleans’ poshest gallery after all) and are composed of the refuse of this system, they still manage to take the viewer somewhere beyond the daily grind of consumption – a space of pure, Platonic freedom.
Dugas is involved in a game of extreme subversion. He begins a work with a pile of the lowest form of art and creates something wholly ineffable and transitive. In the context of our time, there is something truly transgressive about Dugas’ work in that it exudes skill (countering the prevailing rubric of “deskilling” in art today), it obviously takes much time and patience to complete it (two things of which most people have very little these days), and most importantly it turns pop culture and pop art on its head. Given enough green bean labels and time, Dugas can create a work of art on par with a Byzantine mosaic or a Buddhist mandala. He metaphorically takes Warhol’s soup can and runs with it in the other direction. By slicing and dicing commodity labels into a million little pieces and recontextualizing them, Dugas points to a way out of the consumerist paradigm by diving right into and through it.
Troy Dugas, “Fayum Clos du Calvaire,” European liquor labels on wood panel, 48 x 48 inches, 2012, photogrpah courtesy of Arthur Roger Gallery
However, Dugas has recently decided to go in other directions as far as the type of images he produces. His “Fayum” series is a case in point. The product labels have remained a constant and pattern still plays a key role in shaping the work, but Dugas deploys these to compose representational images which riff on the tradition of Coptic Fayum painting. This type of work flourished in Egypt during the Roman occupation of the country at the tale end of the Roman Empire.
Fayum paintings were typically made of encaustic or tempera on wood panel, and they represented living portraits of deceased individuals. These portraits were painted during an individual’s lifetime, displayed in his/her home, and then placed over the head of his/her mummy as a reminder of what the deceased looked like when he/she was alive. Fayum paintings were basically the Graeco-Roman innovation on the ancient Egyptian funerary mask.
While unequivocally beautiful, Dugas’ “Fayum Series” complicates an already complex and hybridized tradition. These works have a particular sort of resonance for our time, bringing to mind the collapse of a civilization (possibly our own included); the atemporality of our digital age where information, ideas, art, and design from vastly different eras coexist through various media simultaneously and are equally valued; an exploration of the colonialist impulses of much modern art such as Picasso and Matisse’s osmotic response to African art and our own colonialist polemics in the Middle East today; and a porous view of individual identity. Beside the infiltration of corporate logos in these works replicating ancient funerary paintings of people who actually were alive at one point in time, Dugas throws another conceptual monkey wrench in the proceedings by basing some of the works in the series on contemporary arrest photographs found on the internet. It’s a chilling touch that begs viewers to answer the uncomfortable question of what posterity and history have in store for them.
Troy Dugas, “Still Life Cactus,” assorted labels mounted to wood panel, 28 x 35 inches, 2013, photograph courtesy of Arthur Roger Gallery
The specter of modernism haunts Dugas’ “Still Life” Series a little more lightly than his “Fayum” Series, if no less significantly. Here, Dugas breaks with his convention of using a single type of label. He employs an unprecedented assortment of labels to approximate the varying colors, textures and techniques utilized in modernist still lifes. Dugas’ obsessive technique seems to loosen in these works, affording them a sense of playfulness and breezy, if scattered, sensuality.
Together, Patton and Dugas’ current artworks afford viewers vital insight into the ways pattern can be more than simple decoration. Before the onset of modernism and postmodernism in Western culture, there was much meaning invested in pattern. Viewed as symbols of status and origin, pattern was used as a tool to visually order and label the world around oneself. Because of this, every pattern had a fixed meaning. This view of pattern generally broke down under the influence of the modernist impulse to purge symbolism from visual culture. Postmodernism then relegated pattern to being a handmaiden to style and design. The beauty of the contemporary use of pattern is that now it has a freedom of use unafforded to it in the past and it can carry a plethora of meanings depending on its contextualization. This is because we approach pattern from a multitude of different perspectives in our own contemporary moment.
With Patton and Dugas, we have two examples of contemporary artists reinvigorating past forms and materials within new contexts. Their works hold the mirror up to our own complex lives in subtle yet profound ways, unearthing and reflecting undercurrents and patterns of reality. We are given the responsibility of recognizing the patterns and determining their significance.
Stephanie Patton’s “Private Practice” and Troy Dugas’ “The Shape of Relics” are both on view at the Arthur Roger Gallery in New Orleans until April 20, 2013.