Exhibitions
“Copyright Bandits”, Collapse Gallery, Wenatchee, WA. October 2019
“No Percentage Girl”, 9” x 12” Mixed Media collage. 1942 Redbook Magazine Marlboro Advertisement, encaustic paint, acrylic paint, Tijuana Dance Hall Card, Book Spine, Rusted Metal, Kakishibu dyed linen scrap.
Collaboratory, Glendale Community College, Glendale, CA. September 2019
8 Portraits, 12” x 12” each
75 Chroma Panels, 6” x 6” each
Materiality + Method, Pretty Smart Studio, Long Beach, CA. September 2019
“Writ in Water”. 9 Panels, 6” x 6” each
I’ve been included in @textileartsla first juried exhibition, in conjunction with Materiality & Method and Textile Month in September 2019.
Textile Arts LA members submitted work for the juried show Materiality and Method: a small works fiber exhibition, which will be shown at Daniella Carter’s architectural studio @pretty_smart_studio , 4117 East 4th Street, Long Beach, CA, 90814.
Fiber is a fluid medium that allows artists to approach their work in many ways. This exhibition focuses on the intersection of process and material, and how every artist addresses these ideas in their work. Textile Arts LA accepted work that uses innovative methods that manipulate, re-imagine and transcend our understanding of material. All work is no larger 24” x 24”. Event Dates: September 8, 2019 through October 5, 2019.
Opening reception on September 8 from 4pm to 6pm
This is the first exhibit of my textile art and curiously the gallery is within blocks of where I grew up. So it’s back to my roots as I begin this new chapter… “Writ In Water”, 2019
In 1821, John Keats, age 25, realizing death was imminent, requested that his tombstone be inscribed “Here lies one whose name was writ in water”. It is thought that this reflects not his fear of dying, but his dread of doing so prior to realizing his artistic destiny.
Chambray fabric (fashion industry textile waste), pleated and dyed in an Indigo Fermentation Vat, stitched with cotton thread, mounted on individual 6” square birch plywood panels.
9 panels. 18” x 18” overall.
I began the piece as part of the Chromatic Collaboration project I’m working on with my Hana Kark cohorts. This collaborative project has led to many, many new experiences, connections and adventures.
Stay open to new opportunities. You can’t know where they’ll lead!
Kollaj Fest, New Orleans, LA. July 2019
Sadly, a hurricane blew through and Kolaj Fest was cancelled, but a few hearty souls managed to hole up in the Aloft and collage our way through the storm.
DAILY COLLAGE CONGRESS
Saturday, July 13th, 10 to 11AM
Aloft New Orleans Downtown
What can the 16th century imperial workshops of the Mughal Empire teach us about working collaboratively? Carlyn Clark will introduce the concept of Karkhana, an Urdu term for the imperial-sponsored workshops that produced manuscripts for Mughal emperors in what today is India and Pakistan. In these workshops, the production for a single work of art was divided among various collaborating “masters”. Clark will speak about how she worked with Nancy Kay Turner to tweak the project from what was historically used in an actual physical workshop with many skilled workers in the same place to a process used by a loosely defined collaborative network. Eight artists worked over eight months as sixteen works on paper circulated in a prescribed order until everyone worked on all the pieces. At this Daily Collage Congress, we will hear about their process.