Seeing Implications with Norwood Viviano
“Global Cities,” an exhibit by Norwood Viviano (ART) occupies a large room at the GRAM until February 7. Exquisite in execution and far-reaching in its layered messages, it is well worth the time. In fact, it is about, among other things, time.
Those familiar with Norwood’s bronze works, memorable features of the university collection, know that he is very interested in capturing the ephemera that we bring with us as we move through time and place. From the bronze lace collar on the ground floor of Lake Ontario Hall to the bronze rendering of a sewing basket, his work preserves for us that which his family brought when migrating to America.
More recent work in bronze has, through use of GIS and 3D printing--and sophisticated software to link the two—an image of a particular moment in the history of the GV campus. The minute detail of this relief has as its foundation a section of a tree that was unavoidably removed when the most recent addition to Mackinac Hall was constructed. One of the castings is now on the lower level of Mackinac Hall.
“Global Cities” takes Norwood back to his roots in glass work. Suspended over a world map are pendular glass objects whose shape, dimension, and color tell the story of the population of cities over time. As the viewer moves around this work, she cannot help but be struck by the effect on population in Europe of WWII, the temporal extent of the Roman Empire, the newness of antipodean cities, how recently some cities burgeoned, how one city’s gain was its neighbor’s loss, and how commonly a boom precedes a bust. As these objects are glass, we can see the shadows the large cities cast. Their delicate suspension from above achieves a perfect stillness inside the museum, but somehow invites us to think about what a small puff it would take to see these populations centers in disastrous collision with one another. Our fragility is palpable.
That this work is rich in implication has not been lost on others. After a period of taking and giving many summer workshops from Oxbow to Anderson Ranch Art Center, he has added new competencies and sees how these experiences feed opportunities to our students. He sees this same potential for expanding horizons here at GVSU amongst his colleagues. “The university is a knowledge-base and I’ve had exciting conversations with faculty in many departments on GIS, LiDar, 3D scanning, 3D printing, software, population…” Whether interacting with other artists as varied as architects and animators or with scientists and local fabricators, he is thinking about his students as artists and how they need to not only work on their practice of making objects, but also crossing disciplines.
His own recent opportunities bear this out. In February he will be part of a community adaptive forum sponsored by old Dominion University in Norfolk Virginia. The topic is climate change which poses a very real threat of flooding the original Williamsburg settlement, and yet that message is discounted by many locals. Norwood will help to facilitate discussion with urban planners, biologists, theatre professionals, museum representatives, and the community. He will be displaying work that should help the people of Norfolk to interact with the effects of climate change. “Population is the subject matter, implications for natural resources, getting past denial and ‘daylighting’ the actual relationship of that place to water and the potential for flooding. This is the reason for the project and it will look at what will be lost—the Williamsburg settlement—using LiDar as a tool to look at those areas and show what the flooding would look like,” Norwood explains. “It will have historical and metaphorical significance.”
In preparation, a meeting was held last April and occasioned fascinating conversations that Norwood feels are needed across the country. He hopes that this could turn into a grant to do just that.
Since these projects are not the only ones on his plate (the DeYoung Museum in San Francisco and others presented themselves); and then the Smithsonian also came knocking. It became clear that to do justice to the opportunities presenting themselves in 2016, that a semester’s leave would be necessary. The newly renovated Renwick Gallery at the Smithsonian invited Norwood and three other artists to bring a mid-career surveys of their work. Seven pieces will be borrowed from GVSU’s collection such as some of his first generation artifact pieces. There will be a catalog including 8 pages on several bodies of Norwood’s work. From the personal to the global, it will show that his work is about larger patterns of migration.
“My new projects document population movement over time and globally, how that is tied to economics, colonialism, and forced migration. Some of the patterns are horrifying, to look beyond the statistics to the implications.”
As part of the career of this digital artist who works in metal and glass, the essay on his work that accompanies the GRAM show and the upcoming catalogue at the Smithsonian will help him by making his work comparable to that of others in 30 years. On one hand he is looking forward to the September 9 opening of the show at the Renwick, but he is also looking longer term both in his art and career.
The legacy we leave is also on his mind closer to home.
The recent workshop in Colorado allowed his son to see him as a teacher and a learner. His son was also able to participate. “He’s into music, and I hope he does what he believes in—even if it is tangential to his profession, I hope it is active not passive engagement.”