InstallationArt/cv

Installation Art, the experiential art form

Installation Art is a fun and demanding art form to wrestle with. It is incredibly difficult to capture with a photograph and even harder to describe with words. I favor its flexibility and that it can adapt to embody the changes required for each project. My installations are site-specific. I love the freedom to build anywhere and to be able to work inside or out. The scale varies, the weather varies, and the process to transform the space and material, also varies for every project. It is elusive. I like that Installation Art is experiential and not consumable. I value and respect the unique experience it provides for its viewer. Unlike a two-dimensional painting on a wall to view, or a three-dimensional sculpture to walk around, installation art is time based and multi-dimensional. It presents the context of experience in time and and space. Viewers interact differently with installation as they are included with the art and absorb meaning phenomenologically. Moving through time and space creates a unique body memory, therefore response and meaning is unique to each viewer. Installation Art lends opportunity to spark imagination, discover connections, and inspire personal reflection. I like that I can explore concepts of change and memory, nature and physics, spirit and poetry through Installation Art. I am indebted to this art form. I have generated Installation Art for twenty five years. It remains inexhaustible.

KL


Projects & Exhibitions: Galleries, Gardens, and Residencies

Summer 2018-2020, "Dover Traffic Spiral", a roadside art installation inspired by traffic. This large scale installation is the feature in our courtyard that runs along the city sidewalk and Stark Ave. at the “garden of sustenance” in Dover, NH.

Spring 2020, “ArtPM Challenge” group exhibition; Make it in February, and exhibit together in March. A community effort to get out of the grip of winter. Buoy Gallery, Kittery, Maine.

January 2019, "Word Project"; Writing Residency at Wellspring House, Ashfield, MA.

November 2018, "Suminagashi Project"; I am practicing various techniques of Japanese paper marbling in collaboration with book binder Cynthia Hinds, for the Open Studios event at the Salmon Falls Mills in Rollinsford, NH.

June 2017-2018, “Visualizing the Theatre of Love: Where Land Meets the Sea”. I was the visionary and designer for a collaborative outdoor installation project and event in midcoast Maine.

March 2018, “ArtPM Challenge” group exhibition; Make it in February, and exhibit together in March. A community effort to get out of the grip of winter! Buoy Gallery, Kittery, Maine.

March 2018, “Shift Register” group exhibition, curated by artist Shaina Gates. Foundation Artspace Gallery in Exeter, NH.

Winter 2018, “Solitude Project: Water, Flour, Salt"; I rented a quiet space to transform a selection of my journal entries into sculptural forms in Woods Hole, MA.

Winter 2018, “Seacoast Prayer Flags for Peace” a community event project that began 2017. I was the art consultant, the installer of the flags in the trees, and the facilitator of the burning ceremony. The flag project began and ended at Gateway Taiji, Qigong, and Yoga School in Portsmouth, NH.

Fall 2017-Summer 2018, “Write Here, Write Now”; I participated with the writing group Amherst Writers & Artists that meets at Aryaloka Buddhist Center in Newmarket, NH.

Fall 2017, “When the World was Flat: Journeys Then and Now” curated by artist Lynn Hassan at Long Island University Humanities Gallery, Brooklyn, New York.

Summer 2017, “Amending the Soil, Declaring the Path”; My garden project at the “garden of sustenance” in Dover, NH.

Winter 2016-Spring 2017, “Dream-Strings in the Gingko Tree”; This was a time- sensitive outdoor process project with much preparation; I suspended my sewn and painted dream-journal entries (they looked like black prayer flags) up high in a gingko tree. I left them there to fade in spring weather while the gingko’s swollen buds burst and bright green leaves unfolded. The installation ran in conjunction with “International Sculpture Day” from April into May, at Bedrock Gardens in Lee, NH.

Winter 2017, “Letters From Morpheus”; I exhibited a nightstand-top sculpture made of folded and painted dream-journal entries with a group at the Dream-A-Book exhibition at BookWorks in Asheville, NC.

Fall 2016, “Passage”, a cardboard tunnel based on a double-spiral path, leading into and out of darkness. This tunnel allowed for people to walk through, one at a time. They could enter or exit either end. I foraged all of the cardboard during a summer of drought and cut notches and tabs to connect the many pieces together to form a tunnel at the Open Art Studios event at Salmon Falls Mills, Rollinsford, NH.

August 2016, “Cardboard24” a studio project about process (and physics); I wondered what would happen in a space (studio), with time (round the clock-24 hours), matter (cardboard), and energy (me). I sorted, organized, and cut cardboard. I discovered ways to notch, and interlock. And later developed four more projects out of “Cardboard24”. I made “interlocking sculptures”. I made “notepads” that sparked an invitation for me to instruct a How-to at a permaculture fair. I made a life size cardboard tunnel called “Passage” for people to walk through, and a “David Bowie cardboard-cutout” costume for Portsmouth’s annual and highly creative, Halloween Parade.

Spring 2016, “Pulp & Shred” zine series; I worked with artist Beth Wittenberg making our own zines at Wrong Brain Head Quarters in Dover, NH.

Summer 2015, “Thanatopsis”; This metal sculpture, animated by winds from the west, stands tall in the “Garden of Sustenance” in Dover, NH.

February 2015, "Solitude Project"; Responding to the call of the Chumash and quality of light of Malibu, CA, which translates to "place where waves sound loudly".

November 2014-November 2015, “Pulp Project”; This was the year of reviewing, sorting, shredding, and pulping. I used ten years of my art journals for this process and discovered a series of “pulp forms” and “pulp portraits”.

November 2011, “Poetry Project”; I wrote nature based poetry with the influence of Japanese Haiku. I was awarded scholarship and attended a writers residency at Vermont Studio Center, Johnson, VT.

February 2007, “Flow”; I made an interactive performance installation combining words, voices, architecture, and environment. I was awarded scholarship and attended a visual arts residency at Vermont Studio Center, Johnson, VT.

January 2007, “In the Dead of Winter”; This installation addressed the yearning for deep sleep after enduring the chaos of the holidays. It was made from artificial christmas trees, and related materials, that I transformed and suspended at Artstream Gallery in Rochester, NH.

Summer 2006, “Considering the Space In-Between Road and Garden”; This metal sculpture, made of metal posts and recycled metal circles, runs ninety feet along the sidewalk at my home. It marks the first of the garden sculptures, at this quarter-acre urban oasis, called “garden of sustenance”, an organic-art-garden-environment in Dover, NH.

Summer 2006, “Guest Artist at Invitational Group Exhibition”; I made an outdoor installation connecting art, nature, and architecture at The Barn Gallery in Ogunquit, Maine.

Fall 2003, “Rooted Uprooted: A Walk in the Woods”; This indoor installation combined real space, made space, and dream space with the use of lighting, darkening, and transforming tree parts into sculptures at Artstream Gallery in Rochester, NH.

Summer 2000, “Sculptures and Drawings by Kris Lanzer”; This was an invitational solo exhibition of drawings and wall mounted and suspended sculptures made of altered natural materials hosted by 55 Mercer Gallery in SOHO, New York City, NY.

Summer 1995, “Discovering Visual Vocabulary”; I was awarded assistantship to Chicago artist, Michiko Itatani, and attended with full scholarship to the Haystack Mountain School of Arts and Crafts in Deer Isle, Maine.

March 1995, "Yellow Remains Constant"; became my first installation. It was based on the concept of yellow. I used architecture, light, shadow, air currents, pompoms, paint, and monofilament line. The Art Annex, Albany, NY.