MASTHEAD Award-Winning Magazine Quarterly Newsletter Limited-Edition Portfolios Registry - you're here

Therese Zemlin

US . Massachusetts . Andover .

Thumbnail panels:
Now Loading
  • 1.
  • 2.





1. The Bed Project, 2002-2003
Inkjet prints on Japanese paper, wood reed, internal lighting. 10x72x72 inches, 25x183x183 centimeters; each unit 9x6x6 inches, 23x15x15

2. The Bed Project


My art begins as a desire to make something tangible, in response to comparisons of the constructs of technology and society, and the forms and phenomena of nature.

My work in the early 1990s combines welded steel armatures with membrane-like coverings of paper, in installations that functioned as mental landscapes or fragments of thought. In 1995 I began making more delicate and ephemeral work, based in part on a type of Japanese construction used for making collapsible gifu lanterns. The resulting forms resembled biomorphic bellows, which led to investigations of motorized paper forms, which resulted in the kinetic installation entitled 5 Bodies.

Wall pieces completed in 1999-2001 address the issue and patterns of nature and culture existing as the same thing; and the digital (i.e., infinitely repeatable), post-industrial elements of life and their integration with the tactile, singular, handmade object. The introduction of backlit transparencies (images of skies, water, and fruit) inside the patterned, paper forms has something to do with that which is infinite being somehow accessible only from an interior. This is not unlike Galileo viewing the heavens through a telescope of his own making, or scientists basing their sense of reality on what they have seen through the lenses of microscopes. The patterned paper form with the interior photographic image becomes a “protected world within the world.”

The title of my most recent work, The Bed Project, refers to beds we sleep on, riverbeds, flowerbeds, seedbeds, deathbeds, etc. All of these have to do with regeneration, life, and death, all taking place in silence.


Go back