The University of Tennessee, Knoxville

In this exhibition, a large, site-specific wall drawing interacts with the architecture of the gallery and the viewer in a more direct way that is unconfined by the edges of paper or the stretcher bars of canvas. Drawing on the wall embraces the entire exhibition as a single art installation where other individual works can bounce information and narrative from all areas in the space. The scale of the wall-drawing engages the viewer to walk into the room and around the space

to explore the various aspects of the work. As the viewer walks through the gallery, certain forms and symbols appear and reappear throughout the space from one work to another, sometimes as a painted mark, then as a sculpture, and again as a mark creating sound as it moves across the wall in the projected animations.

Tegeder wrapped the wall-drawing around the gallery walls, turning corners, and surrounding the sculpture, Death Rock City, which shares its name with the title of this exhibition. In Death Rock City she has arranged small sculptures, glass cubes, beads, and altered commercial readymade objects on the top of an angular 20-foot long, 4-foot wide mirrored platform that represents a fractured city-scape. In this piece, Tegeder translates the elements from her two- dimensional works into sculpture and arranges them on the platform to create an abstracted urban environment. The reflective, angular, landscape projects light onto the wall-drawing and creates new shapes within the piece. Likewise, the painted wall is mirrored in Death Rock City around the small sculptures — joining the wall- drawing and the sculpture into a singular, fluctuating installation.

Tegeder expands the visitor’s visual experience by including sound and animation. Each animation begins with a digitized version
of a completed painting or drawing. The original composition is deconstructed as Tegeder choregraphs lines and shapes to a instrumental composition she has chosen to complement the work. Just as sun light reflects by the mirrors moves across the wall drawing, the shapes begin to travel around the screen, actively changing the composition. The animated shapes create several arrangements before rebuilding and returning to the original work at the end of the animation.

Death Rock City embraces the traditional while progressing into what the artist calls “painting in the extended field.”