Emily Weiskopf, born in 1978 in New York recent work draws attention to ways of consciousness and vulnerability in relations to the disparity of the disappearing natural order/landscape, the sacredness of truth, and her personal struggles due to her ongoing spine conditions and physical constraints. Her early and ongoing pursuits in printmaking and ceramics continue to serve as a foundation informing her process while her concepts draw influences from her studies of Mayan, Buddhism, and Native Americans beliefs and rituals, philosophy, and textiles. She received a BFA from the Hartford Art School and an MFA from the Tyler School of Art. In 2013, the NY D.O.T commissioned Weiskopf's first large scale public installation, Unparallel Way, which debuted in conjunction with the exhibition Brooklyn Utopias. Weiskopf was nominated for the Rome Prize in 2011 and has been awarded fellowships and residencies including the Artist Pension Trust, Vermont Studio Center, Atlantic Center for the Arts FL, and the Wassiac Project. Her work is in public and private collections and most recently she completed a public sculpture project in Kansas and had upcoming collaborations at the Glencairn Museum and Philadelphia Folklore Project with Chenrezig Tibetan Buddhist Center.
My most current work address what is most essential of the conscious experience. Authenticity and my translation of 2020. Pure seeing, acknowledging, listening and vulnerability.
I am influenced by trauma and suffering vs. faith and resilience with the fragility of life. I correlate this to both my own personal experience and ongoing struggles with my physical disabilities/deteriorating and to environmental and humanity concerns. Much of my practice with Buddhism-meditation-prayer-ritual influences and takes part in my process with the execution of my work acting as pulses, breaths, to evoke a conscious state of non-duality between absence(air/space/intangible) and presence(light/color/body).
I experiment widely with materials from drawing, to textiles, sand, light, recycling found objects with interest in creating ephemeral works that deconstructed the very notion of control and to speak directly to the power of impermance of life with much of this new work made in a combination of direct translation and eyes closed. Drawing-line-the mark is at the core of my work as a record of connection and time between sensory search, conceptual thought, physical action and the written word.
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