Alyssa is currently represented by Kesting/Ray
in NYC and Ellen Miller Gallery
in Boston. She has exhibited in Pulse LA
and Pulse, Miami Art Fairs
as well as Fountain Art Fair
. As of spring 2012, Circus Tent
became part of the Microsoft Art Collection and in 2013 she had several works purchased by Fidelity Investments.
for more news.
Read Alyssa's interview with Lab Magazine
Shop for prints here
I'm interested in the modularity of spaces that advocate a kind of 'lowbrow' architecture; one which speaks more about habitual places and the integration of living systems that demonstrate a bricolage approach to material usage within the construction process.
My work represents the fine line between the loss and renewal of a much needed connection to the materials and inner workings of our built environment.
In my daily interactions with constructed space, I see architecture as a manipulator of vision. Whether I am working with drawing media, sculpture, or photography, I view constructed space in layersof material, of space, and of time. Even though the compositions and arrangements of images or objects, in the work, remain fixed in reality, the unreliable or erratic nature of our vision or attention causes these elements to seem as if they are changing. I want to signify the transient nature of the building process as if it were some kind of mythic practice. A significant influence for me has been the study of ancient cultural sites in which mounds, standing stones, or menhirs are placed as magnetic markers for ritual purposes or points of communication. I see the wall formations and placement of objects in my work as modern magnetic markers that advocate a reexamination of our lived environments. By using the visual representation of constructed space, I work to assemble hybridized situations of manmade elements and non-manmade elements, which also actively manipulate time and space based on their cultural connotations. I am interested in the degrees of separation between geologic substances within our environment and how their rudiments create our perceived world. In particular, I have used the setting of the construction site or test site as a point of departure to speak about the beginnings of raw earthly materials, which are then composed into building material. Much like a set of childs building blocks, always vulnerable to rearrangement, the actions of braking down and building up are repeated from one composition to the next. These settings wax and wane within process states that collectively resemble construction, decomposition, archeological excavation, theater set, place and non-place.
These drawings were produced with an almost scientific meticulousness, parts of which were at any moment erased, scratched into, layered upon or completely covered over. Similar to the hybridization of visual imagery within my work, I also employ myriad textures that are produced through the interaction of various mediums, including graphite, colored pencil, gouache, and ground pigment.
"I want to depict the most romantic idea in the most detached way Oskar Schlemmer 1915