Greenwich Look

Spring 2016

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h er art has been called edgy, poignant and futurist. A few minutes talking to E.V. Day and the New York-based sculpturist reveals a personality much like her work: honest, energetic and always with a playful balance of humor and purpose. Day broke ground and got her fi rst big break with her exploding Couture series, Bombshell in 2000. The installation deconstructed the iconic moment in the classic fi lm The Seven Year Itch when Marilyn Mon roe's skirt is blown by a subway grate. It was included in the Whit- ney Museum of American Art Biennial and has since become part of the permanent collection. Much of her work involves monofi lament fi shing lines and tackle hardware, creating taut lines between a fl oor and a ceiling upon which she suspends various materials—often involving pop culture imagery. "The Italian futurists' preoccupation with velocity and motion and their love of aerodynamism inspires much of my work," said Day. "I started painting when I was in college, but when I began to create in three dimensions, it was really liberating to have an almost limitless quantity of processes and technologies to deploy in the service of veloc- ity and anti-gravity." Since 2000, she has continued to garner national attention for major installations at respected art venues around the world including the MOMA in New York City and Philip Johnson's Glass House in New Canaan, Conn. How did you fi rst become interested in art ? I think I knew from a young age, but I didn't think I was going to be able to pursue it. I grew up with the notion that "you've got to have marketable skills." I kept my jobs for a long time, even after I was in the Whitney Biennial and I was able to live on the sales of my work. I worked for artists and galleries and got into art production for commercials and other projects. What did your early freelance jobs teach you ? It was fascinating being in a room where millions of dollars are being spent in a moment for making the perfect drop of condensation on a milk bottle. It gave me real perspective about the choices I make and made me realize whether my work is successful for a wider audience or not, art is important. It was eye opening. Ƥ Of all the places you have worked and lived in your life, which places have had the greatest infl uence on your work?Ƥ The two years I lived in Los Angeles between college and graduate school defi nitely have had the greatest infl uence on my work. For me, L.A. is a microcosm of everything in American culture: the good, the bad, the ugly—with a predominant sheen of beauty (both natural and artifi cial). More specifi cally, NASA's Jet-Propulsion Lab in Los Angeles, one of my favorite places on earth, and space and anti-gravity have long served as inspirations. Plus, the urban landscape is dense with ir re pressible wild foliage—tropical plants issuing from cracks in Culver City sidewalks—and that climate of fecundity/fertility is where I like to live in my mind even when it's chilly in my studio in Brooklyn. "Pollinator" in polished nickel plated copper (top) and "Pillow Talk" in black (bottom) may look like something from a sci-fi movie but they are reproductions of the reproductive organs of a fl ower. Opposite page: "Carmen" a retired costume from the New York City Opera, part of her Divas Ascending installation in 2009. [ ] 034

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