“Being a photographer and being an artist working with materials like resin, plants, and glass — those two worlds should not really mix,” says Heidi Norton. “You have the camera and you have film and you’re trying to keep things clean and archival, and then you have dirt and glass shards everywhere.” Such contradictions are at the core of Norton’s work, from the immaculate glow of her photography to the dirt-under-your-fingernails feel of her sculptural pieces, which typically feature houseplants in some form or another. Norton started incorporating plants into her photographic practice several years ago in a series of still lifes. It was partly a way to bring the natural world she grew up with, in rural West Virginia, into the urban setting of Chicago, where she’s lived since getting her MFA at the School of the Art Institute in 2002. Those photos eventually inspired her to make plant-based sculptures that explore how we create, cultivate, and change ourselves. Therein lies the central paradox: “The idea of preservation, and trying to save the plant while at the same time killing it through that preservation, became really interesting to me,” she says. “All of the mediums I use deal with that idea in different ways.”
Even her studio itself, shot by Debbie Carlos for part two of Sight Unseen’s series on Chicago artists, is part of the process. A bright space in an industrial building in Chicago’s East Garfield Park neighborhood, it’s a controlled, but continually changing, environment. “It’s always a surprise when I come into the studio. Like, what the hell has happened in here? Oh, that’s dead. That’s alive. That’s melted.” Initially, “it was a source of a lot of anxiety because I didn’t understand what was going to happen. I would come check on the plants, make sure they were still alive, that kind of thing. But as I grew into the work and the work developed, it came to be that the death of the plants was just as significant as the life of the plant, or the regeneration and re-growth of something out of the piece.” Norton’s creations, which often recycle elements from past works, are “in a constant state of flux” but undergo the kind of slow metamorphosis you don’t really see taking place. Nevertheless, when I visited her studio earlier this year, Norton did her best to help me envision it.
As a four-year-old living in Lenoir, South Carolina, Stephen Eichhorn refused to learn how to read. While everyone else in his class was singing their ABCs, he’d stubbornly deemed it unnecessary — he already knew he was destined to be an artist, communicating through images rather than words. “People asked me, how are you going to read your show cards or write press releases?” Eichhorn recalls. “My answer was, I’m going to marry someone who knows how to read! The resistance was so heavy they put me in a special ed class.” His protest didn’t last more than a few months, luckily, but his uncanny commitment to his future career did: At 14, for example, he interned for a group of Star Wars toymakers who taught him freehand drafting and craft techniques, and at 17 he attended a summer art program at SAIC before enrolling there a year later. Since graduating in 2006 he’s been living the dream instead of planning for it, working independently from a studio he shares with his wife in Chicago, which is where SU’s newest contributor Debbie Carlos visited him this past spring for our two-part series on Windy City artists.
Visit Nick van Woert’s massive studio in Greenpoint, and in all likelihood you’ll find a cluster of white people standing in a corner, naked and clutching each others’ butts — these artificial neo-classical statues have been a recurring theme in the Nevada-born artist’s work since shortly after he began his career in earnest in 2006. Many of them get tipped over and enveloped in a cascade of colored resin that hardens in mid-drip; in one series, he hollowed out their midsections and let the wind give them garbage guts. “It was like a little trap, and the wind would blow weird shit in there that accumulated outside my studio,” van Woert says. “Anything from Doritos bags to Monster Energy drink cans. The DNA of the world outside.” It was his most literal manifestation of the mantra that drives most of his practice: You are what you eat.
Portland is a place where, so the saying goes, the ’90s are alive and well. And it may very well be the only place that could have spawned an artist like Emily Counts, who deals with the self-reflective nostalgia of outdated technological innovations once found in her childhood home: dial-up telephones sculpted in porcelain and stoneware, a life-size fax machine, an interactive Mac SE computer made from walnut, casting epoxy, glass, porcelain, copper, and electrical wiring that acts as a two-way mirror after a button is pressed on the keyboard, lighting up the sculpture’s interior. “I’m interested in the mystery of these inventions that we seem to take for granted in our everyday life,” says the 35-year-old Seattle native, who we first spotted on photographer Carlie Armstrong’s blog Work.Place. “For me, there’s a thin line between technology and magic.”