Jenna Crowe
Staff Writer
Regionalism and law combined in an unlikely way at the new art installation, Securement, in the ISU Transition Gallery.
Lily Martina Lee, artist and Boise State University professor, was brought to ISU by the Bistline Foundation Fund, written by Naomi Adams, and the Quick Funds Grant, provided by the Idaho Commission on the Arts.
“The Quick Funds Grant gives artists more opportunity for professional development,” Lee said. “That grant paid for my materials.”
Securement will be available in the Transition Gallery until Nov. 25. On opening night, Lee also gave a presentation about her installation.
Lee is teaching a workshop on Nov. 28 about fiber netting. A limited number of seats are available.
Originally from Pullman, Washington, Lee started associating regionalism with identity at a young age. This connection between where a person is from and their identity contributed to her inspiration for Securement.
“Something I’ve noticed, especially in Idaho, is that people like to tie down their loads,” Lee said.
Her seven pieces encompass this inspiration while displaying her beadwork and fibers skill.
Lee was first introduced to fibers and weaving when she was seven years old. Her best friend’s mother was a weaver. A few years later, at the age of nine, Lee began learning beadwork from a mentor.
Lee didn’t put much of an emphasis on her beadwork until after college, mainly because there wasn’t a class available that focused on the skill.
Her beadwork shines through in a piece titled “Net I,” which is featured on the advertisements for the exhibition. Lee was particularly excited about this piece because it gave her a chance to showcase her beadwork on a larger scale.
“I had to accept the presence of negative space and think of it as part of the work,” Lee said.
She has been working on this particular installation since the beginning of 2015. The first piece she worked on was titled “Flap II” and was finished in January 2015. The rest of her pieces were finished that year.
“When I think of a new piece, I start by studying law,” Lee said.
According to Lee, studying law helps her better understand her art because, like art, law can rely on details and idiosyncrasies.
While planning her Securement display, Lee examined laws relating to transportation and how to properly secure materials while moving. This research proved itself through her work.
For example, her piece titled “Rear Threshold” in full scale form is at the maximum dimensions allowed for Idaho trucks.
Her skill with fibers shone in her piece “Concealment.” In this piece, she hand-wove and dyed the fibers she used. Lee used a Japanese weaving technique that she learned from her weaving guild.
She also intends to submit her piece “Netstudy 7” for group exhibitions.
“Juried group exhibitions have maximum dimensions,” Lee said. “I refined these samples so I can show them.”
Lee explained that with a small piece, the artist has a better ability to show the piece in group exhibitions, where a large piece is useful for portfolio development.
At the end of her presentation, members of the audience asked questions regarding struggles Lee has experienced. One problem she mentioned occurs when the artist has to ship their artwork.
When shipping a piece, the artist has to provide instructions for the gallery to install the piece properly, which includes measurements and photos from different angles; this is known as plotting.
“Luckily the artist was here to help us,” said one of the art students that assisted with preparing the gallery.
Lee plans to continue working with fibers and dyes.
