Relatively recently, as a resident artist at the Headlands Center for the Arts
and in his own studio in the Balboa Park neighborhood, Vogt has also explored
ways to make three-dimensional objects and scaffolds that look like buildings
just taking shape or being dismantled. They cast real shadows on a wall. “The
shadows are also a drawing medium now,” Vogt says.
For one 2012 piece called “Altered Mirror,” he selectively stripped the silvered
backing off an acrylic mirror so that when a light shines through the altered
plane, it creates light “shadows” or patterns of light on the wall.
Prompted by an outdoor installation he did for the Museum of Craft and
Design in the Dogpatch neighborhood, Vogt now sometimes builds latticed
objects and places them in the sun on stretched fabric treated with light-sensi-tive dye, to fix the cast shadows onto the dyed fabric. These sun prints harken
back to Anna Atkins’ cyanotype blueprints and latter-day Laszlo Moholy-Nagy
darkroom photograms of the Bauhaus school in Germany; in Vogt’s versions,
the sculptures’ shadows prevent the dye from adhering to the fabric, and the
shadow areas remain white or lighter than the rest of the surface, which has
been exposed to sunlight.
Vogt’s site-specific wall works include a mural for South Park Commons, a tech
incubator. Cast-concrete tiles, formed with lath strips that remain impressed in
the surface of the tile-like shadows, are new designs that can be installed outdoors.
All the works Vogt creates with lath represent upheaval and inevitable
changes in the built landscape, which, “no matter how ephemeral it is, forms
a palimpsest,” he says. “Those are my themes,” Vogt adds. “My structures are
also transitory and merely shadows at play.” n
Prices from $1,000 to $15,000; andyvogt.com
Above: “V Trench,”
2015, 14 feet by 44
inches, is made of
salvaged wood lath.
Left: “Shadeshape 3,”
salvaged wood lath,
casts shadows that are
also used to create
pieces on cotton.