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Dannielle Tegeder

The Library of Abstract Sound

October 3 - November 30, 2013

Oranlio: Light City with Silver Time Plan and Orange Structure with Calculated Structure with Square Tri-Level Schematic, and Tree Towers with Hollow Escape Route Storage with Underground Electric Nexus, and Evacuation Rooms, 2013
Gouache, ink, colored pencil, graphite, and pastel on Fabriano Murillo paper
55 x 79 in.

Oranlio (detail)

Oranlio (detail)

Oranlio (detail)

Oranlio (detail)

Noando: Rosa Crystal Code, with Covert Machine Explosion, and Synthetic Ruby System, with Headquarter Results and Lower Level Capsule Rooms, Sideway Half-Circle Tower Housing with Central Housing and Color Coded Grid for Population Expulsion, 2013
Gouache, ink, colored pencil, graphite, and pastel on Fabriano Murillo paper
39.5 x 55 in. (diptych - 2 sheets)

Noando (detail)

Noando (detail)

Daroim: Dusk Contraption Drawing with Magnetic Recording, and layered Indigo City Lust System, and Fragment Safety Dome with Above Ground Streamers and Nested Square Learning Center, 2013
Gouache, ink, colored pencil, graphite, and pastel on Fabriano Murillo paper
39.5 x 27.5 in.

Daroim (detail)

Fakontech: Golden Structured City with Machine Plan Universe and Method Angle Main Triangle Planet and Crystal Code, 2013
Gouache, ink, colored pencil, graphite, and pastel on Fabriano Murillo paper
27.5 x 39.5 in.

Fakontech (detail)

Junillever: Universe Plan, with Transmission Machine Room and Alpha Magnetic Language, and Flourescent Simulation, 2013
Gouache, ink, colored pencil, graphite, and pastel on Fabriano Murillo paper
27.5 x 39.5 in.

Junillever (detail)

The Library of Abstract Sound, 2013
Ink, gouache, graphite and sometimes collage elements
11.25 x 8.5 in. (16.75 x 12.75 in.)
(each drawing is accompanied by an animation: total time 01:03:47 min.)

The Library of Abstract Sound (detail)

Exhibition view

Exhibition view

Exhibition view

Exhibition view

Exhibition view

Gregory Lind Gallery is pleased to present Dannielle Tegeder's “The Library of Abstract Sound,” bringing together the artist's large- and small-scale drawing, as well as animation and sound. Her works, which employ strategies connected to 20th century abstraction, present high-tech systems ranging from electric lines to wireless networks, funneled through a Suprematist lexicon. Tegeder, who was born to a family of steamfitters, easily evokes the trade's architectonic schematics in everything from her early abstract drawings to her paintings of post-apocalyptic realms. Given her new experiments, her current work ventures into more abstract territory, exploring the intersections and boundaries between drawing and sound.

The show comprises a recent collection of 100 drawings scanned into a software program that was designed specifically as an interpretive device—a method that summons to mind the technological forays of Constructivist art. The algorithm translated Tegeder's lines, colors, and forms into unique sound equivalents. Each individual drawing has its own musical arrangement, which will be played in the gallery space as the drawing is displayed on a monitor. As specific shapes trigger automated sounds, those areas of the drawing will be highlighted on the screen. In this sense, the animated drawings are not interpretive, but rather, image-to-sound transcriptions meant to create aural correspondents for the viewer/listener.

In Tegeder's project, there is a clear interplay between geometry, color, and line: fan shapes, linear trapezoids, triangular clusters, wheels of color, and shards of light intersect and overlap, with no apparent conflict or competition for dominance. These elements seem almost independent and self-sufficient, coexisting in space and interacting accordingly—much like notes in a musical score that are choreographed to harmony. The large drawings delineate a series of futuristic architectural fantasies that reimagine the modernist architecture of our urban landscape, bringing into play the visible and invisible systems of daily life. They are a continuation of a ten-year exploration of creating fictional urban cities.

Tegeder was born in Peekskill, NY. She received her BFA from the State University of New York at Purchase, and an MFA in Painting and Drawing from The Art Institute of Chicago. She has had solo exhibitions in Paris, Mexico City, Houston, Los Angeles, Berlin, Chicago, San Francisco, and New York. Tegeder has participated in group exhibitions at museums such as PS1/MoMA, The New Museum of Contemporary Art, The Brooklyn Museum of Art, and Museum of Contemporary Art, Chicago. She has been the recipient of many residencies and grants, including Yaddo, the Pollock-Krasner Foundation, SmackMellon Studio Program, and the Marie Walsh Sharpe Studio Fellowship. In 2013 Tegeder had her first major museum survey at the Wellin Museum of Art, at Hamilton College curated by Tracy L. Adler, Director of the Wellin Museum. A fully illustrated hardcover catalog accompanied the exhibition with essays by Tracy L. Adler, Barry Schwabsky, and Claire Gilman, the curator from the Drawing Center in NYC. Tegeder has been featured numerous publications including The New York Times, Chicago Tribune, The Boston Globe, Art in America, Flash Art and The Brooklyn Rail. Her works are in the permanent collection of the Museum of Modern Art, the Museum of Contemporary Art Chicago, and The Weatherspoon Museum of Art in Greensboro, NC.