Throughout history, artists have often sought out the most visceral, physically engaging materials and innovative procedures of creation. Process art emphasizes the “process” of making art itself (rather than any predetermined composition or plan) and the concepts of change and transience. Here, an artist’s interest in process and the properties of materials are determining factors. At times, the final object is the result of process; elsewhere, the process (or act of creation) is the artwork itself. This wide-ranging, multidisciplinary category could include art typically defined as sculpture, performance, documentary photography, and even large-scale interventions in both man-made and natural environments, such as wrapping architectural landmarks, or sketches and maquettes related to MOCA Jacksonville’s Project Atrium series.

The overlapping lines in Ingrid Calame’s abstract drawings, for example, are the result from the meticulous process completed at various sites that capture unique groundscapes of different locations. Often described as an “archeologist of everyday life,” she traces the marks she finds on public and private streets and translates them onto Mylar sheets as in #320 Drawing (Tracings from Buffalo, NY.) and #330 Drawing (Tracings from the L.A. River & Arcelor Mittal Steel). After tracing the stains, marks, and cracks from a site, she cleans the original traces, layers them, and applies color with each layer, peeling them away to reveal abstract depictions. Calame’s process is inter-disciplinary by nature as her work engages not only abstract aesthetics but also archaeology and cartography.

Other artists in Process and Object Relationship include John Chamberlain, Chuck Close, Joelle Dietrick, Robert “Dickie” Landry, Jenny Morgan, Arnaldo Pomodoro, and Joel Shapiro, among others.