lulu wolf

us / S1 Sept-Dec 2018
https://luluwolf.com/
Lulu Wolf (b. 1988, USA) is a multidisciplinary artist and designer currently based in Lisbon. Previous to Lisbon, she lived in New York for 11 years, working as an artist while also participating in various external projects in the arts and design. In 2014, she co-founded Haeler Echo, a gallery, performance space and cultural organization in the Lower East Side, which she co-directed for two years before departing to attend the Masters of Architecture program at Princeton University. Her work as an artist has been exhibited throughout the US, Europe, and in the Philippines.
 
“The foundation of my work as an artist stems from an exploration of materiality, temporality, visual and dimensional translation and perception. The central medium is collage, expanding more recently into sculpture, videos, and books.”

specular diffusions

Lulu Wolf’s practice explores the interchange between the image of a material and the materiality of an image through photography, photo-based work, video and sculpture. She is interested in the ways in which a static moment can be a tool for continuous inquiry of such concepts, and how seriality can amplify this revealing.
 
Her process often begins with the abstraction or obfuscation of the subject: a form denuded of context is utilized as a means to generate multiple readings. In Specular Diffusions, the work begins with two sheets of mirrored paper hung on opposite walls of the studio and then photographed, respectively. The photograph captures the material reflecting its surroundings, but because the sheet is malleable its reflections are reduced to those of light and color. This image is then printed onto a new mirrored sheet, whose materiality is visible through lighter areas of the image. This image upon the mirrored sheet is mounted on glass, so that the substrate mirror is flat and smooth: thus becoming more mirror-like than the originating subject. The layering of the mirror-image onto the mirrored surface also contains dual temporalities: that of the time and place where the work was created, and of the ever-changing present time and place. With each operation the work simultaneously moves away from and begins to loop back to its original materiality. This work was created as a series: one ‘image-mirror’ diptych (the left wall and the right) for each hour, for 24 hours. For Thirdbase, 7 of these hours/diptychs were produced as completed works; 8h, 10h, 12h, 14h, 16h, 18h, and 20h.
 
What she aimed to encourage with such repetition, evident throughout the work both within a single piece and a series, was attention. Through attention, the objective becomes mutable and the minor becomes profound. Like Beckett’s strategies of permutation, by reiterating the particular, repeating the same vocabulary (or image) over and over, the subject is both reduced and expanded. With each revisitation one begins to read oneself, and to read one’s previous readings; at once being broken down and built anew. When she says read, she means see.