"In a sense, Tegeder turns the guiding intuition—what some might call the ideology—of the reductivist tradition inside out: This intuition tells the artist that as more and more of what had formerly been the matter of art could be jettisoned, that is, as the work came closer and closer to arriving at some concentrated essence, the fuller and more powerful it would be; the fewer elements it could have, the more complete it would be. What Tegeder realizes—perhaps more than any of the other artists who have emerged from the semi-secret tradition of so-called conceptual abstraction—is the rather frightening corollary of the reductivist intuition, which is that when the artwork is complexified, stratified, and subjected to what Stephen Westfall called the “ongoing cultural condition of hyper-contextualization,” then the work loses its grip on any sense of completion, of wholeness, and becomes ever more fragmented, contradictory, underdetermined, and irrational (in the way an irrational number, such as pi, turns out to be endless). A certain arbitrariness comes into play.
- Barry Schwabsky
Chouenine: Chocolate Constructivist Layered City with Ochre Exhaust System and Garden Escape Routing with Circle Habitats and Magnetic Results - 2013 - Gouache, ink, colored pencil, graphite, and pastel on Fabriano Murillo paper - 55 x 79 in.
Fakontech: Golden Structured City with Machine Plan Universe and Method Angle Main Triangle Planet and Crystal Code - 2013 - Gouache, ink, colored pencil, graphite, and pastel on Fabriano Murillo paper - 27 ½ x 39 ½ in.
Nocturnal System Drawing and Atomic Nightlight - 2011-2009 Gouache, ink, colored pencil, graphite, pastel on Fabriano Murillo paper - 55 x 79 in.
Monument to the Geo Chemistry After Structure with Yellow DISTURBANCE Code and Disaster Averter and Atomic Station - 2009 - Gouache, ink, colored pencil, graphite, and pastel on Fabriano Murillo paper - 79 x 110 in.
Doconia Thermal Atomic Rate at Red Midnight - 2009 - Gouache, ink, colored pencil, graphite, pastel on Fabriano Murillo paper - 55 x 79 in.
Orackium: Electric Constructing with Global Silver Fragments - 2008 - Gouache, ink, colored pencil, graphite, and pastel on Fabriano Murillo paper - 55 in. x 6 ft. 6 in.
Puriamond: Cascade System of Destruction & Explosions - 2007 - Ink, colored pencil, graphite, pastel, and gouache on Fabriano Murillo paper - 55 x 79 in.
Instructions for Utopian Grey World Machine & Copper Inner Structure - 2007 - Ink, dye, pencil, marker, acrylic, and gouache on Fabriano Murillo Paper
Grey Diamond Mechanic Galaxy - 2005 - Acrylic and ink on panel - 60 x 60 in.
Lime Magnetic Recording of Everything: Phone Conversations in Dusseldorf, Aviation Flight Info, Addis Abada; Norwegian Mobile Phone Lines, Overworld/Underworld Phone Networks; Dubai to Bombay, War Propaganda, Sailing in Kelsinki; Stock Exchange in New York City; Thanksgiving Parade, Children's Nursery Song in Seoul, Piano Love Sonata in Burma; Cold Blule Sax in Milwaukee - 2005 - Acrylic and ink on panel - 60 x 60in.
Galaxy Construction - 2006 - Acrylic and Glass Beads on Canvas - 72 x 108in.
Resvil - 2006 - Acrylic and ink on canvas - 9 x 6 ft.
Ninel - 2006 - Ink, acrylic and colored pencil on raw linen - 60 x 72 in.
Perutlucso - 2006 - Mahogany and acrylic - 16 x 86 x 96 in.
Speed Secret Grain Crash, Triangle Line Manifesto, Silver Grass Alchemy Group - 2013 - 2009 - Mixed Media on Panel - 60 x 60in.
"The Artist's interest in systems and their discontents manifests in a typological array - of tiny collages, painted panels, sheets of glass - that tantalizes with the promise of coherence and cohesion and delays that catharsis indefinitely. It is a supercollider in a state of suspended animation, subjecting any notion of composition to rigorous deconstruction."
-Stephen Maine, from Catalog Wall Works
Read an interview on the paintings with Leah Oates
Installation View of Constructing an Evolutionary System, 2011, Collaged acrylic, frames, glass, and wood on canvas, panel and glassine, 15 x 8.5 ft.
Nighttime Black System with Metallic Explosion, 2011, Collaged acrylic and ink on canvas
Untitled, 2011, Collaged acrylic paint on raw linen,2 panels, 24 x 18 in. and 36 x 26 in.
Structures of Possibility, 2011, Collaged acrylic and ink on canvas
Zolesay: Solar Copper Calculation Shape Language Velocity and Crystalline Code with Rhapsodic Headquarter Global Center and Atomic Mapping Center with Rectangle Space Construction Areas and Movable Segment Countries with Problem Solver Copper Transformation Shape Conductors, 2013, Acrylic and ink on canvas, Diptych: left panel: 6 ft. 6 in. x 9 ft. 10 in. (1.9 x 2.9 m); right panel: 9 ft. 10 in. x 6 ft. 6 in. (2.9 x 1.9 m), 9 ft. 10 in. x 16 ft. 4 in. (2.9 x 4.9 m) overall
In 2010, Dannielle Tegeder created a series of animations based on drawings made in 2009. She collaborated with five composers from around the world to create the works on view, animating her drawings to their original music. From the whimsical to the solemn, each of the animations has a very different tone as well as a range of effects. For example, in Rust Conductor Plan with Sound Frictions and Chroma-Construction, the drawing becomes deconstructed and by the end of Geo-Chemical Sound Catastrophic Kit the drawing is mostly erased. For the artist, the animations allowed her to adapt drawing to a new medium incorporating movement and music.
Urban Metropolis Animation
Geo-Chemical Sound Animation
Library of Abstract Sound
In an intimate chamber lined with wood shelves sit one hundred drawings. Executed on muted backgrounds and comprising overlapping geometric forms and intersecting lines, they evoke nothing so much as a cross between El Lissitzky and kazimir Malevich’s spare, hard-edged compositions, and Wassily kandinsky’s lyrical arrangements of color and form. Indeed, a cursory viewing might suggest that the artist, Dannielle Tegeder, was constructing a monument to Russian abstraction. This initial impression is supported by an accompaniment of atonal music—to be exact, one hundred separate compositions equaling approximately one-and-a-half hours of sound. Each formal composition was translated into a unique sound- and-image animation, ranging in duration from thirty to one- hundred-and-twenty seconds. A computer monitor inside the room displays the drawings one at a time so that the viewer can follow the musical arrangements as they unfold.
-Claire Gilman, Curator of The Drawing Center in New York City.
"Dannielle Tegeder’s art has very long titles. Fantastic indices referencing made-up lands, they are awkward and cumbersome fragments that refute punctuation, capitalization, and grammatical order. As an example, a title from one of her most recent mixed-media drawings."
-Katie Stone, The Brooklyn Rail
"Dannielle Tegeder's underground worlds would be safe havens from just such biological or chemical catastrophes... Tegeder's self sustaining cities take their visual cues from a bevy of sources - architectural blueprints, plumbing and heating systems, military reconnaissance maps, aviation routes, subway lines, disease migration maps, weather patterns and the like."
-Anne Ellegood, selection from Out of Site: Fictional Architectural Spaces
"Dannielle Tegeder renders cross sections of postapocolyptic scenes of subterranean safe havens, employing a maze of fine lines and diminutive shapes that bring to mind Peter Halley, Paolo Soleri, and Buckminster Fuller."
-Joel Sanders, Art Forum
"Dannielle Tegeder's Paintings might be read as a response to that threat. Seemingly abstract, they're diagrams for imaginary underground shelters - their rooms and passageways painted emerald green and passion pink and decorated with mini-mandalas - to be used in times of disaster"
-Holland Cotter, The New York Times
IbadDalian (Isreal-Oman): White Winter City with Dot lower Tunnel Routes, Love Circle Production Expulsion Center, with five station Route, Twin Station Igloo Housing, with New Central Hospital and Lace Grid Station, multiple Box Square Hotel Housing and 27 circle; Storage from Above Ground and Below Ground; and Sideways color coding Grid, with Yellow Triangle Training Center, 2005, Ink, dye, pencil, design marker, acrylic, and gouache on Fabriano Murillo paper 56 x 60 in. (152.4 x 142.2 cm)
Nocturnalia: City with multi-stations, and Gold palace with triangle Forested Oval Garden, Electric and Water tower with Nuclear Route Ellipse; with Excavation Safety Areas and Diamond Structure with Circle Plan Streamers and Capsule Rooms with Nighttime Above Ground, Ground Section with Tri Level Escape Route and Bottomless Net, with Three Triangle Convent; with Ellipse Station, Silver Expulsion with Dangling Trailer Habitats with Failing Escape Route and Bottom Dangling Chrysalis with Male Center Production Headquarters, and Center Production area and Human Habitat Station, 2005, Ink, dye, pencil, design marker, acrylic, gouache on Fabriano Murillo paper, 56 x 80 in.
Alitpia: Community Under Construction with Jumbo Love Dot Boiler; Six Safety Vessel Stations, Containing Habitats and Rainbow Structures; Five Square Two High Rises; Dangling Safety Chrysalis; Abandoned Oz City; Side Room with Circle Storage Nexus Interconnecting Underground Transportation Network with Abandoned Square Tower, 2004, Ink, watercolor, pencil, colored pencil, felt-tip pen, synthetic polymer paint, and gouache on paper, 55 1⁄4 x 79 in. (140.3 x 200.7 cm)
Chocolate Utopian Underground City with Yellow Inner Structure Station with Square Grid under Construction Safety Chrysalis and Abandon Square Habitat with White Expulsion Area and Central White Mine Tunnel Transportation Center, 2003, Ink, watercolor, pencil, colored pencil, felt-tip pen, synthetic polymer paint, and gouache on colored paper, 54 1⁄2 x 78 5/8 in. (138.4 x 199.4 cm)