open air studio (laboratory for experimentation founded 2006) spacetime is ahome” site for Sandrow creating art and engaging in timely matters thru the lens of history making and remaking itself.  Within the continuum of space and time, studying the inter relationships of living organisms to one another and their physical environment during these times of critical change in climate, society, culture and our planet. Art works and Installations, often outside the parameters of the “white cube”, compose an interdisciplinary art practice exploring sociological and ecological effects of human domination of the natural world in the geologic times of the anthropocene. Unfolding in front of a lens through which she embraces chance, creates art encompassing the mediums of still, video, mixed media, sculpture, new media and social practice existing through the bounds of overlapping disciplines.

A platform evoking critical discourse about “now”, the “everyday” for Sandrow as an artist in residence in Shinnecock Hills (since 2006) as was open air artist William Merritt Chase (1891 -1902) that her project title references. Chase’s conservation efforts, memorialized in his Shinnecock Hill landscape paintings, are mirrored in Sandrow’s art and social practice: encompassing her art making (since 2006) on lands, in structures (Note 1 and 2) from Chase’s time (1891 - 1902), with relationships to First Peoples. Who had inhabited these lands for 14,000 years when claimed by the Town of Southampton (1858) and placed under management of the Long Island Improvement Company. Subsequently sold privately during the leadership of Samuel L. Parrish (including lands gifted to Chase, Note 4, others purchased by Jane Borrowe Colt and by Samuel L. Parrish, 1891).

open air studio Shinnecock Hills is sited on Sandrow and Skogsbergh’s land that includes the former  Jane Borrowe Colt Estate’s “Cottage” (formerly William Merritt Chase Carriage House designed by Stanford White, Note 1 ) and Carriage/Gatehouse (early 20th century, Architect Grosvenor Atterbury, Note 2) that survived the fire that destroyed the Colt Manor House (1948, Note 3). View what “remains”.... what “lays bare. And within the Town of Southampton east end community engaging colleagues and the public in collaboration and dialogue: questioning what it means to inhabit “place”. 

The impact of art and social history reveals new understandings and relationships about longstanding issues central to Sandrow’s practice: climate change, social inequities, race and gender discrimination, violence against women, the environment and overdevelopment. Globally through the medium of cloud based networking (since 2007) of the on site livestream Happening Live spacetime. In which a dozen site specific installations framed by a dozen network cameras donated by Panasonic North America, livestream conditions faced by flora and fauna adapting to changes in climate (global effects) and environment (locally). This 24/7 multidisciplinary installation is sited in Sandrow’s “backyard” within the Shinnecock Indian contact period Village Fort Critical Environmental Area; along the Atlantic Flyway.

“Sometimes when you’re looking for one thing, you find something completely different and unexpected”. 

Harvard-Smithsonian Center for Astrophysics

The genesis for Sandrow was a Chance Encounter (Surrealist doctrine of objective chance) with a white Padovana Cockeral (March 28, 2006).  Illustrating that the world is full of chance (or are they random?) happenings given the feathered crest of the cockeral’s resemblance to North American Indian's Eastern Woodland headdress regalia. When he crossed the road from Hills, latterly preserved (2008) by Sandrow in hand with Shinnecock Indian Nation, to Sandrow/Skogsbergh lands. Two miles east, just north of Shinnecock Indian Territory, was Chase’s Shinnecock Hills Summer School of Art (1891-1902): the first open air painting school in the United States.

An influence to Sandrow’s art practice has been Surrealist Marcel Duchamp: “Duchamp delighted in the fact that the “Large Glass” shattered while being transported, the jagged cracks further confounding and fragmenting the object's chance encounter with the real world. Rather than offering escape into a story or environment, the environment is framed and focused by the work of art, and its story is ever subject to change, like the physical state of the artwork itself.”

“Hope” is the thing with feathers - That perches in the soul - And sings the tune without the words -And never stops - at all -                                                                                                                    Emily Dickinson, published 1891

Sandrow embraced the riddle  “why did the chicken cross the road?”: her answer (potentially a “folly”) for the cockeral Shinnecock (named for where they met) “to be my guide, muse.” And like the creation narrative in the garden of Eden, snakes appeared, (two) apple trees sprouted, took root in her open air installation where Shinnecock and his family flock find shelter.

Threads along a two mile stretch of road in Shinnecock Hills that weave a story of cultural and social history. In which the place of women, community, civil rights, the natural world and “our” nature juxtaposed to art and social history are investigated, as Sandrow’s art practice. And life: (Jan 15 2020) The 38th state voted to endorse the ERA (the first while Sandrow was in art school March 22, 1972: “Virginia’s decision does not seal the amendment’s addition to the United States Constitution. A deadline for three-quarters, or 38, of the 50 states to approve the E.R.A. expired in 1982.” Making art that reflects life experiences within the frame of our natural world has been Sandrow’s medium for processing sexual abuse since a child. “Why, Sandrow says, beginning at an early age, assault on my body linked to that on earth, air and water.” 

And, on the other side of the world during chance conversations with Balinese and Mangarrai weavers revealed shared interests: inspiring talk (postponed due to Covid19) of open air studio Silangjana spacetime (Bali, with Sudipa Yasa Family and Kekur’s cockeral Rwa and Hen Bhineda) and open air studio Komodo spacetime (Sea of Flores with Mikel Albaran Valle) Indonesia. As collaborative offsite components of the Art in Embassies commission The Fabric of time and space spacetime permanently installed (2018) in US Embassy Jakarta. Lands where the Indonesian heritage chicken Kekur (Green Jungle Fowl) forage freely in backyards: common ground was found with Sandrow, her Padovana flock and life as an artist.

Prisms of chance are Sandrow’s medium to study cultural and social history, the natural world of three coastal sites: Shinnecock Hills New York first inhabited 10,000 BC; Pacific Islands Komodo 11,000 BC and Bali (Silangjana)1,000,000 BC. A trajectory of human development paralleled by the chickens journey, ie cockerals Padovana Shinnecock and Kekur Rwa from jungles to forests to farms and backyards. Current research identifies chickens as symbolic of the transformation of the biosphere, a marker of the anthropocene in our times.

open air studio spacetime coexists on multiple layers which Sandrow hopes broadens the boundaries of the art viewing public, for her works to be embraced as mediums for advocacy by environmentalists, human and animal rights activists. Displaying relationships between personal and public, her backyard to neighbors and those across the world in Silangjana and Komodo (twelve hour time difference).The micro and the macro: a Hen's egg posed upright while candled resembles stars, moons and planets.The process of laying an egg begins after light sensitive cells behind her eyes message her ovary to release an ovum into the egg yolk. Fertilized by sperm, coated by albumen as the egg travels through the oviduct. This creative process encompasses twenty-four hours; as the rotation of earth on its axis.

"...the problem about the egg and the hen, which of them came first, was dragged into our talk, a difficult problem which gives investigators much trouble. And Sulla my comrade said that with a small problem, as with a tool, we were rocking loose a great and heavy one, that of the creation of the world." 
                                                                                                              Plutarch Table Talk, Moralia 120 ADStudies/Entries/2019/10/3_Observational_Findings.htmlshapeimage_1_link_0

The Other Side, The fabric of time and space, open air studio spacetime 2016 Photograph

(left, New York; right, Eastern Indonesia Islands of Bali and Komodo

open air studio spacetime is the art project (founded and directed) of conceptual artist Hope Sandrow whose multidisciplinary art practice is a ‘way’ of life; real engagements with the world to inform and direct her artistic vision. At critical times her role is as participant like that of the viewer, more often as Observer in works that encourage interaction between artists, the public and the natural world. Fiscally sponsored by the New York Foundation for the Arts: tax-deductible donations can support this ongoing project.

(l) Folly open air studio Shinnecock Hills spacetime

9” x 9‘ x 9‘ Glass and Wood Cube, Dahlia Plant Tag, Steel Circle   2012 Found, Hurricane Sandy  (October 29, 2012)

  1. (r)Eastern Garten Snake

open air studio Shinnecock Hills spacetime

September 30 3:53pm Shinnecock with Susanna

One of seventeen portraits of Shinnecock Family Flock commissioned by Agnes Gund  The Sky is Falling  Open Air Studio Shinnecock Hills  spacetime  2009

Albumen Prints 20” x 16” Unique

These portraits reference the importance of a Chicken and their eggs to the history of human evolution. Including technology: the early photographic process “Albumen” prints (1860 - 1899) involves coating a sheet of paper with albumen (egg white), followed by a solution of silver nitrate that form light-sensitive silver salts on the paper. When a glass negative is placed directly on the paper and exposed to light, it forms an image on paper. Pictured, Cockeral Shinnecock poised by an egg laid by Susannah, challenging the viewer to consider:

Note 1: (2006) Sandrow named this project in homage to Chase’s art practice: (2020) She was informed by neighbor John Hunt to read the Town of SOUTHAMPTON HISTORIC SURVEY (April 2014 ): Shinnecock Hills Multiple Resource District)The structure moved to current location”; “1891; may be carriage house to William Merritt Chase ”.  Illustrating that the world is full of chance (or are they random?) happenings

Note 2: The structure moved to current location: Town of SOUTHAMPTON HISTORIC SURVEY (April 2014 ): Shinnecock Hills Multiple Resource District): “a small gambrel roofed structure clad in wood shingles with dormers, twelve-over- twelve-light windows, and multiple additions. The structure likely dates to the early 20th century.

Believed to be the former gatehouse for a larger property known as the Condon Estate (designed by Long Island architect Grosvenor Atterbury ca. 1906) ; it is also said to have been designed by Grosvenor Atterbury. (This property is potentially landmark eligible under Town Criteria A, C, and D).”

Note 3: The Jane Borrowe Colt Manor House burned to the ground (1948)... see what “remains”....what “lays bare”.

Note 4: Town of SOUTHAMPTON HISTORIC SURVEY (April 2014 ): Shinnecock Hills Multiple Resource District “The William Merritt Chase Homestead is listed on the State and National Registers. It is a shingle-clad gambrel-roofed building with a Doric- columned porch. Attached is a shorter, smaller shingle-clad gambrel- roofed structure. It is generally accepted that Stanford White, of the architectural firm, McKim, Mead, & White, made sketches of this structure (Schaffner and Zabar). (This property is potentially landmark eligible under Town Criteria B, C and D).