Gerri Spilka’s investigation of vibrant, robust and often anthropomorphic shape is central to all of her work. In her own words, “color is essential, as I enjoy its abilities to capture and transmit light, and to change its own nature with the adjacency of others. Scale is important as well: the large pieces allow me and the viewer to be immersed in the work, hopefully provoking a visceral curiosity about who or what this may be? what’s going on here?”
Gerri Spilka’s work has been exhibited in numerous solo and group fine art and textile shows in Europe, Canada, and the US. Her work is in the collections of the International Quilt Museum, Lincoln, NE; Park Towne Place Galleries, Philadelphia; Temple University’s Fox School of Business, Philadelphia; and numerous other private collections. Prior to being a full-time studio artist, Gerri led a national non-profit and philanthropic consulting firm where she collaborated with social justice leaders throughout the US.
For more information, please see: www.gerrispilka.com and on Instagram @gjspilka.
Gerri Spilka, Shape Study, 2020. 48” h x 64” w. Procion mx dye painted on cotton. Image courtesy of the artist.
First, and most importantly, how are you doing? How are you navigating the highs and lows?
I am lucky to be well in my home and studio in Philadelphia, as is my family. But yes, it’s true, the last 9 months have been up and down. On the one hand, my daily practice continues on as it had been going. Since so many events have been canceled, the long stretch of uninterrupted studio time feels luxurious. I am the kind of person that is prone to juggling many activities at once, in and out of the studio. I can get scattered. Once I got over the shock of close-downs, I’ve had more psychic space to not focus on production. Its freed me to experiment and make mistakes. I spent the first 3 months exploring new printing techniques, new colors, pivoting imagery, and to research some new directions.
On the other hand, I regularly hit the Covid wall which saps my motivation. And POW—the angst of impending election, and the despair of the murders of African American by police, culminating with that of George Floyd, also pre-occupied me. However, I am guardedly encouraged by the election results, and the scale and breadth of the Black Lives Matter demonstrations across the county.
Gerri Spilka, Below #2, 2020. Digital manipulations of procion mx dye on cotton paper laminate prints. Approximately 14” x 14”. Image courtesy of the artist.
It's my experience that most artists engage with some level of self-isolation in their day to day art practice. Has this been your experience? And if so, have you found these innate rhythms to be helpful during this larger, world-wide experience of isolation?
In truth, my life has not changed all that much; I am so grateful to have my work at this point. The hard part is getting away from it for a refresh -- to see other art in person, new and different and environments, and to laugh in person with good friends. Recently, hiking in the countryside a few times a month has provided distance and perspective.
Gerri Spilka, Print Study #2, 2020. 36” w x 96” h. Paper laminate print and painted, thickened procion mx dye paste on cotton. Image courtesy of the artist.
It would be great if you could briefly talk us through your practice. Understanding it is integral to appreciating the multivalence of your work.
Last year at this time, I returned to fabric construction and piecing after a 3-year hiatus during which I only printed and painted with thickened dyes on cotton. I love the speed, visceral quality, and directness of these approaches, but I missed the hard edges of piecing so started working on both during the same period. For a while I juggled both. However,, COVID has simplified my life. After a lot of starts and stops that led me nowhere, my piecing is now carrying all my energy. I am exploring color luminosity, and body-inspired abstracted shape. I am again working large, and enjoying making sweeping, gestural lines with my rotary cutter using the full extent of my arm’s reach. I love using cottons I have dyed myself. Some of these will be quilted; others not.
Gerri Spilka, Below #1, 2020. Digital manipulations of procion mx dye on cotton paper laminate prints. Approximately 14” x 14”. Image courtesy of the artist.
Has any of your imagery shifted in a reflection to what's currently happening? And why, or why not?
Rather than using a large color range, during the beginning of the lock down, I worked within a more limited gray scale. Even though I am back to more vibrant color, my imagery has been more austere and pared down.
Threads of Light, collaboration among the Schweinfurth Art Center, Lorne Covington of Noirflux, and myself, Auburn, NY. Original quilt is Conversations on Meaning, 2016. 90” h x 100”w. Machine pieced and quilted, hand dyed and commercial cottons, cotton and wool batting. Image courtesy of the artist.
Are you researching/reading anything?
I am studying people in groups in my neighborhood parks through photography. Also, I am reading Indecent Exposures: Eadweard Muybridge’s Animal Locomotion Nudes. The shapes and gestures of my work strongly suggest movement, and I would like to be more intentional going forward. I am also refining my color approach, revisiting James Turrell’s work, Joseph Albers’s Interaction of Color, and Karl Lund’s book on Richard Anuszkiewicz.
Gerri Spilka, Big Blue, 2020. Hand dyed cottons, machine pieced. 72” w x 94” h. Image courtesy of the artist.
Gerri Spilka, Color Study, 2020. Hand dyed cottons, machine pieced. 18” w x 26” h. Image courtesy of the artist.
What is bringing you solace, or even joy, in this moment?
A recent visit with my daughter who now lives in NYC, hiking, and reading mysteries give me a lot of pleasure. And I have been dyeing fabrics for my next piecing series. The juxtapositions of new screaming brights against colorful flats and grays are really juicing me.
Gerri Spilka. Image courtesy of the artist.