I have come to realize the significance of geometric forms and performance in my work. In particular, my interest in the grid as a structure, a foundation for creating a new space, but also as a disruptor of space.
The grid is nomadic. The grid is performative installation. It’s provisional, transitional, contingent.
“Home Sweet Home (And Other Suchness), Luss’ first solo exhibition, is a newly realized, site-specific installation for Lowe Mill. The title plays on the often-invoked idiom – the return to the comfort of home after an extended absence – revealing the artist’s interest in places and objects that activate unforeseen memories. Through “reverse excavation,” to use the artist’s words, Luss forges the archeological aspects of a place with her own biographical history. The resulting work investigates the disruptions of relocation, and on another level, the importance of finding safe spaces necessary to realize potential. Inventive and personal, the work in the exhibit is Luss’s response to places of her past that are now, through her artistic process, in her present.”
Elizabeth Saperstein — excerpt from essay accompanying exhibition.
Installation photos of my solo exhibition, Home Sweet Home (And Other Suchness) On view at Lowe Mill A&E, Huntsville, Alabama — November 14th 2018 through January 5th, 2019.
Works on canvas vary in size from 8 x 9 to 25 x 12 x 6 feet.
Works on paper vary in size from 5 x 5 to 22 x 30 inches.
Sculptural works in any medium vary in size from 4x 4 inches to 1 x 1 x 4 feet.
Paper Light is an ongoing series of works on paper in response to shifting light and the architecture of space.
Works vary in size from 5 x 5 inches to 22 x 30 inches.
Is It Time? is a site responsive installation in conjunction with the 2016 COPE NYC Artist in Residence program at the Old Pfizer building in Brooklyn, culminating in the exhibition, Reduce, Reuse, Recycle, Reimagine - The 4 R's.
28 x 26 feet
Imagine walking over a bridge towards the setting sun. In the blink of an eye, the sun slips below the horizon. What’s left is a lingering desire to follow it to the very edge, disappearing, fading as does the light. Inevitably the earth turns and that light returns and that desire to follow it to the edge is every bit as present as the day before. But somehow it feels new.
I aim for that experience when making my work. A desire to be present, to have an experience, a moment of new discovery that will happen over and over and over.
The photos included in this gallery are taken in my studio, Morgan 5.
COPE NYC 2017
Acumen Capital Partner LLC Building (The Pfizer Building)
630 Flushing Ave. 3rd Floor, Williamsburg, Brooklyn
October - December 2017
A Collaborative Shadow Play Installation and Performance:
In the spirit of creative reuse, this installation of shadow play, spoken word, and music engaged participants in the construction and creation of a sea of fish using a variety of donated and collected materials. Culminating in a series of interactive performances and workshops, Fish Bones tells a story inspired by the Taino myth of how the sea began, speaking to how communities come together and support each other in the face of overwhelming circumstances.
Fellow A.I.R. collaborators: Aubrey Roemer and Miguel Hernandez
90 Miles of Blue is a two part installation included in the group exhibition, "Blue", at Lowe Mill in Huntsville, Alabama. It was on view from September 1st through October 30th, 2017.
The exhibition was conceived of and curated by Karen Graffeo. The underlying concept was based on the idea of the blue of distance as put forth by Rebecca Solnit in A Field Guid to Getting Lost.
Site responsive installation at Splitty's which was part of a broader group of site specfic exhibitions for Drawings Along Myrtle in 2014.
Time, Light, Color, Space, Texture
A photographic documentation from my daily walks
Site responsive collaboration with Rich Vivenzio for Haverstraw RiverArts Festival
7 Hours in 26 Seconds is a site responsive installation that was part of the group exhibition, Bigger Bolder Better.
The work is approximately 18 x 20 x 5 feet. Each colored gel shape was hand cut in response to the interior and exterior environment, then attached to the windows and activated by the sunlight as the earth rotates.
The show was curated by Etty Yaniv, Jaynie Crimmins, and Christina Massey. It was on view in June of 2017 at 470 Vanderbilt, a chashama Space to Present site.
Site responsive installation for Light Industrial Ecosystem at Garner Arts Center.
An ongoing series:
I walked a block
More likely several miles
To find you.
“Proof of Life”
Site responsive installation for : block 0 : alternative barter: a new method of exchange at b[x] space to create, Brooklyn, NY. Curated by Pia Coronel. June-July 2018
“It’s a Whole New World in Here”
Site Responsive installation for This Is Not Here at The Old Pfizer Building, Brooklyn, New York May - June, 2018.
Site responsive installation for Popular Culture is Where the Pedagogy Is at The Hole, New York. Curated by Jasmine Wahi. May-June 2016
Site specific installation in Charlotte, VT
Illegal Fashion Runway, 2017, February 14, site specific lighting for fashion show at Whitebox.
Curated by Maria de Los Angeles and Juan Puentes