SHARE
Artist Kari Varner, whose work is currently on view as part of the 2017 MFA Thesis Exhibition, in the Mildred Lane Kemper Art Museum. (Photo: James Byard/Washington University)
What does an archive preserve? How long does knowledge last? And just how much can the human mind discern?
In “The Missouri River 38.81408088787352, -90.12370347726687 and 38.815604433618454, -90.12407945049151,” Kari Varner examines the resiliency of nature, the specificity of place and the limits of our own perceptions.
Kari Varner, detail from “The Missouri River” (2017). (Photo: James Byard/Washington University)
Taking its title from GPS coordinates, the installation consists of three interrelated elements — a video, a digital print and a 6-foot-long glass water tank — all centering on the confluence of the Missouri and Mississippi rivers.
“I chose that site because I wanted to reflect the context and community in which I’m making,” said Varner, a 2017 Master of Fine Arts graduate of the Sam Fox School of Design & Visual Arts. “But I also was interested in this loss of identity.” Though the Missouri is the longest U.S. river, the confluence — located a few miles north of St. Louis — represents the point at which the river is subsumed, physically and symbolically, into the larger Mississippi.
Last spring, Varner visited the confluence more than two-dozen times, shooting exactly 1,000 photographs of the water’s surface. To create “The Missouri River,” now on view at the Mildred Lane Kemper Art Museum, as part of the annual MFA Thesis Exhibition, Varner printed each frame onto thin organic paper, which she then submerged into the glass water tank. As the images disintegrate, bits of paper fall slowly away, forming a sort of photographic sediment — a process she documents in the accompanying video.
Finally, to create the digital print, Varner layered all 1,000 exposures in chronological order. The result is a cool, steely gray field of color, the dimensions of which approximate those of the glass tank. Filled with waves, ripples, eddies and other watery details, the image represents a wealth of information that, paradoxically, is rendered impenetrable by its own density.
“I think a lot about the limitations of the archive,” Varner said. “This piece is very much about describing a particular location, but the photographs are always mediated.” As a viewer, “you’re never really allowed to see them.
“Eventually the tank will resemble a riverbed,” Varner added. And yet, ironically, the archive will in a sense remain preserved.
“The components are all still there.”
The MFA Thesis Exhibition remains on view through Aug. 6. The Kemper Art Museum is located near the intersection of Skinker and Forsyth boulevards. Regular hours are 11 a.m.-5 p.m. daily except Tuesdays and 11 a.m.-8 p.m. the first Friday of the month. The museum is closed Tuesdays.
Edo and Le’ad Rosenblith, “The Phantasmagoria Series (25 Variations),” 2016-17. Watercolor crayon, oil pastel, oil stick, acrylic, digital print, hard molding paste and acrylic ground for pastels on 25 wood panels. (Photo: James Byard/Washington University)
Tommy Riefe, detail from “Matter in Time,” 2017. Three figures with graphite, gypsum, polyactide and wood. (Photo: James Byard/Washington University)
Xizi Liu, “Boeing Factory” and “Computer Factory,” both 2017. Acrylic on canvas. (Photo: James Byard/Washington University)
Wei Huang, “The Anatomy Lesson of You There” and “A Face Drawn in Sand,” both 2016. Interactive digital installations. (Photo: James Byard/Washington University)
Clayton Petras, “Flesh and Blood: Diagnosis,” “Flesh and Blood: A Perfect Organism” and “Flesh and Blood: Subsummation,” all 2017. Block relief prints. (Photo: James Byard/Washington University)
Sara Fleenor, “Modern Love,” 2017. Oil on canvas. (Photo: James Byard/Washington University)
Natalie Rainer, detail from “Telexrain,” 2017. Multimedia installation with limestone, acrylic, lacquer, Mylar and single-channel video projection on glass and audio. (Photo: James Byard/Washington University)
Kahlil Robert Irving, “Soul Sitter: Quell” and “Stand: Soul Sitter,” both 2017. Glazed stoneware and steel. Also pictured is “Cynodon dactylon (Devil’s Grass),” 2017. Jacquard weaving. (Photo: James Byard/Washington University)
Shawn Burkard, “Jupiter Thunderbird Votive Offering,” from “Satan’s Beach,” 2017. Metal, glass, ceramic, plywood, records, record player, receiver, speakers, freezer, frozen slushie, rubber balls and artist’s book. (Photo: James Byard/Washington University)
Meelee Ahn, “갈래갈래 Galeh-galeh,” 2017. Acrylic on canvas, 4 panels. (Photo: James Byard/Washington University)
Chloe West, “Corner (Linoleum with Scratches).” Oil on four panels. Also pictured are “Lovers (Dark Glasses),” “Lovers (La Jalousie)” and L”overs (Silere).” All 2017. (Photo: James Byard/Washington University)
Allana Ross, “38.7731159, -90.5154291,” 2017. Mixed media on Tyvek and paper. (Photo: James Byard/Washington University)
Waller Huntsberry Austin,
detail from “Prosaic (dis)appearance,” 2016–17. Crayon, gesso, linen, Mylar, poplar, stainless steel, aluminum and 48,648 paper wrappers. (Photo: James Byard/Washington University)
Ryan Doyle, “Disco Sucks,” 2017. Cast acrylic paint. (Photo: James Byard/Washington University)
Brittany Jasin, “Tenderness Filters,” 2017. Chiffon and curtain rods. (Photo: James Byard/Washington University)
Colton Carter, “Contemplation of a Place Slow and Constant,” 2017. Stones, motor, steel, wood and photograph. (Photo: James Byard/Washington University)
Heather Alfaro, “#mfadressup2017,” 2017. Cotton, foamboard, canvas, yarn and polyester fabrics. (Photo: James Byard/Washington University)
Maggie J. Tarr, “My skin crawls as my body is visually probed by the eyes of bums and corrupted watchmen, and I find that the dogs I pass on the streets have more chivalry than these men,” 2017. Oil on canvas, 2 panels. (Photo: James Byard/Washington University)
Anna Maria Tucker, “Perceptions of the Eyed Persephone,” 2016. Single-channel video with sound. (Photo: James Byard/Washington University)
Yihuang Lu, “Folds–Hope” and “Folds–Peace,” both 2016. Inkjet prints on rice paper. (Photo: James Byard/Washington University)
Jonathan Cornell, detail from “Funerary Urns,” 2017. Mixed-media installation. (Photo: James Byard/Washington University)
Melissa Shelton, detail from “BECOMING / a fine line,” 2017. Multimedia installation with mirrors, feather boa, white cat mask, two-channel digital video projection and audio. (Photo: James Byard/Washington University)
Whitney Meredith, “A Kind of Homesickness,” 2017. Mixed-media installation. (Photo: James Byard/Washington University)
Kari Varner, detail from “The Missouri River,” 2017. (Photo: James Byard/Washington University)
Moon Kim, detail from “Somewhere, There,” 2017. Mixed media on canvas, 2 panels. (Photo: James Byard/Washington University)