ABOUT

Through examination of recursive forms and patterns within our hyper-connective era of urbanization, globalization and technological advancements, Christine Cassano’s work explores these patterns and networks by traversing connections between humanness, technology and cosmology. Her artistic practice includes a range of installations, sculptures, sound pieces and multiple approaches to two-dimensional works. Each approach often enlists intricate materials and processes as she investigates principles, correspondences and paradoxes that engage our present perceptions regarding cultural progress while offering considerations for new, hybrid forms of converging patterns and systems within our hyperconnected globe.

Christine is a recipient of the 2018 Artist Research Grant from the Arizona Commission on the Arts, funded in part by the National Endowment for the Arts. In 2016, she was awarded a Contemporary Forum Artist Grant from the Phoenix Art Museum, supported in part by the Nathan Cummings Foundation Endowment. In 2015, she was awarded a five-week residency at the University of West Georgia and was also a recipient of the Phoenix Institute of Contemporary Art Grant, resulting in a published artist catalog of her work. Her public art sculptures, installations and commissioned works are in various collections throughout the US and abroad.

From curator, museum director and arts writer, Marilyn Zeitlin, in Bring All To Front, 2016  – “Among many ways in which we can grasp the world are to either declare it simple and place all phenomena under one all-embracing idea, or go about the process incrementally, accumulating small segments of understanding that may gradually form larger clusters. The former is what most religions offer. The latter is something more like a jigsaw puzzle or Lego approach. It suits skeptics, scientists, inventors and artists. Knowledge can be gained in small pieces by experimentation: testing theory and gathering data. The relationship among these discrete packets is not immediately obvious, but over time — even a lifetime — several may snap together, and then larger units may click together to give a bigger parcel of understanding. The excitement of snapping pieces together makes for a great day. Sometimes the snap is recognized with a Nobel Prize. More often, it is simply personal satisfaction. An epiphany.

Christine Cassano puts the metaphor of the second alternative into visible, tangible terms, but also perceives the correspondences of form among widely different kinds of phenomena. She is an artist who sees relationships across fields of experience and knowledge and finds ways to present her epiphanies using a wide range of materials. But she is also engrossed by science and the new ways it gives us to see the invisible and relationships of systems. Cassano revels in the complexity that science can define. In her work, she suggests intersecting systems. She embraces complexity. Her work almost without exception brings together opposites, usually several sets in a single work. Inside/outside; natural/manufactured; the biological/the machine; public/autobiographical. Reaching into the cosmological approach, she sees resonance between the natural and mechanical which share patterns and processes.

Cassano’s enormous curiosity and appetite for learning supply her with what seem to be endless ideas for work and an extensive vocabulary of forms. She is a forager of seeds and sticks, skulls and gears, circuit boards and scraps of wallpaper. Going inward, she studies biological forms and her own body. What makes this all work for her is an ability to think and perform manual tasks — simultaneously or sequentially — calling on a broad range of skills from traditional art-making to which she adds whatever she needs to learn in order to reach the result she envisions. Her final ingredients are her intense focus on her work and a tremendous capacity to work hard, long and smart.” 

artist book