I was diagnosed with talent at an early age, and was always the artist of the family. I was proud of my draftsmanship, but as time went by, I realized that I couldn't take credit for my talent; it was a gift. What I do take credit for is the effort I have made through the years to master my craft, those areas of printmaking that I focus on: mezzotint, etching and linoleum. My preferred subject is the human face and figure. I am fascinated by faces, and in trying to capture them I increase my understanding of what it means to be human.
I respond to both my physical location and the environment of ideas. Expressing contrasts, making comparisons and weaving dichotomies into the meanings of images. I combine traditional and non-traditional techniques, hand-coloring, collage and chine colle.
I grew up in the tropical sunlight of the Gulf Coast of Texas, surrounded by a rich diversity of flora and fauna. Strong color and attention to detail are integral aspects of my work in art, whether abstract or realistic in style. Much of my work in painting and serigraphy is pure abstraction, influenced by constuctivism, formalism, and optical art. Color and light symbolize emotional, sensual, and spiritual realms for me; structure and clarity of form represent intellectual, objective, and physical realms. Some of these works are concentric in composition; some are fragmented and then layered; some are cut up, cut out, collaged. All can relate to a sense of self in some way.
My art is developed from a narrative fragmenting of images. My childhood was rich with colorful characters, steel magnolias and a confluence of mixed messages. The consequence of this is a creative ability to find humor in most things. My aesthetics reflect these poetic dichotomies: beauty with calculation, the bitter with the sweet, the humorous with the serious; the literary with the familiar; clandestine moments with collected observations. I enjoy the play of metamorphic connections with the subconscious and senses. Sexual entendre and duality of meanings are explored with symbolic and psychological innuendo. Images are juxtaposed, altered, and accessoried with a tongue-in-cheek attitude to form the focus of my work.
I am a printmaker living and working in Austin, Texas. My work is informed and inspired by the myth, culture, and traditional arts of the lands of my heritage: the American South and Eastern Europe.
I create fantastical characters and use them as a means to explore ideas of the bittersweet moments of human interaction.
I wrap these characters within worlds of magical realism that evoke a history and culture that could be found in folklore or fairytales, both of which are a big inspiration for me.
More recently I have been exploring ideas of memory and burden, and ideas of sin and redemption.
I am currently working on a series of eight 3 x 5 Â˝ foot hand-carved woodcuts titled "The Villagers: Carrying Things from Home.â€ť Iâ€™m using these Villagers as a way to depict the intention and accountability of oneâ€™s actions and carrying the burden of those actionsâ€™ consequences. I am currently co-publishing the series with Flatbed Press in Austin, Texas.
Lately when I create art it is about getting out of my own head. Letting go of control over the world and planning every minute. It is a kind of meditation that allows my emotions to spill onto the page without being filtered, judged, and edited. I try to let my subconscious direct the process. I like to use organic materials I collect from my yard and on walks. I also use cut paper and found objects in my work. I love that what is essentially a weed can turn into something beautiful on the page and it has given me a new way of looking at the world around me. I have found that art helps me to be more intuitive, creative, and relaxed in all aspects of my life.
I strive for Magritte's basic intention, to make art with a "disturbing poetic effect."ť My work presents exotic subjects in the drama of black and white, or the subtle monochromatic tones of printers' inks. The prints are based on my photos of real places and slightly mysterious objects that are embraced by a post-apocalyptic anxiety, which induces a state of psychological unease in the viewer. The images raise questions, but knowing the back story doesn't necessarily provide comfort. The result is by turns intimate, earthy, fragile, universal, and contemporary. The images are full of the organic subtlety showing the naked beauty of weathered rock and plants, contrasted with man-made architectural elements. The organic elements complement the man-made. In purely aesthetic terms, the works use an interplay of tones and textures, with formal qualities of composition in the arrangements of objects under the viewer's gaze. The unfamiliar induces a state of ambiguity mixed with a strange longing or nostalgia. The camera captures temporal events, figurative and narrative, fragments in the cycle of life and death. History is revealed in multiple layers with an underlying order and inherent drama exposed in contrast and detail, painterly and sculptural at the same time.
I was living in New Mexico when a fortuitous requirement of printmaking coursework for my graduate program in art therapy led me to expression in another medium. Since that time I have been exploring printmaking and creating soft ethereal-like inspirational images. The circle or circular movement can often be seen in my artwork. The circle is a universal symbol with extensive meaning--a continuous symbol that has no beginning and no end. Throughout my life I have created circles, benefiting from the sense of comfort, peace, and total integration.
How I feel when I am making art is perfectly described in what Don Miguel Ruiz says: "When you are in your creation and you are doing what you love to do, you become what you really are again. You are not thinking in that moment; you are expressing.” I love being in that space where I am not really thinking, I am expressing what I am feeling inside. One could say that I make art to please the eye and touch the soul.
KENTUCKY STATE FAIR, Best in Show Fine Arts & Craft, Purchase Award (2015)
KENTUCKY STATE FAIR, First Prize Printmaking (2014)
KENTUCKY STATE FAIR, First Prize Printmaking (2013)
FLORAL FUSSION, Best Two Dimensional Art Award (2012)
KENTUCKY STATE FAIR, Best in Show Fine Arts & Craft, Purchase Award (2011)
FRANKLIN COUNTY FAIR, Best of Show, Frankfort, Kentucky (2011)
KENTUCKY STATE FAIR, First Prize Printmaking (2010)
GEORGETOWN ART WORKS FALL ART HOP, First Place Printmaking (Juror Katherine Brimberry) (2009)
2015 POINT OF VIEW, River Gallery, Chattanooga, Tennessee (Two person)
2014 SECRETS OF PRINTMAKING, Northern Prints Gallery, Duluth, Minnesota (invitational)
2014 ART FOR EARTH DAY, NEW HORIZONS, Waters of Superior, Duluth, Minnesota (group)
2014 HOT, BRIGHT, & BOLD, Completely Kentucky, Frankfort, Kentucky (solo)
2013 SELECTIONS, Gallery Hop featured Artist, Kentucky Museum of Art & Craft, Louisville, Kentucky
2013 ETCHINGS, Ripple River Gallery, Aitken, Minnesota (solo)
2013 CONTEMPORARY BOTANICALS Living Arts & Science Center (juried)
2013 NATURAL SELECTION, Good Foods Café, Lexington, Kentucky (solo)
2012 TREES AND EXPLORATION, Grand Theater Gallery, Frankfort, Kentucky (solo)
2012 ART IN THE GARDENS, Liberty Hall, Frankfort, Kentucky
2012 Floral Fusion, Scott County Cultural Center, Georgetown, Kentucky
2012 FULL SPECTRUM, Philadelphia Museum of Art, Philadelphia, Pennsylvania (curated)
2012 EARTHDAY, Northern Prints Gallery, Duluth, Minnesota (invitational)
2012 NATURE ETCHINGS, Capital Sellers, Frankfort, Kentucky (solo)
2012 ABOUT FACE, Kentucky Artisan Center at Berea, Berea, Kentucky (juried/invitational)
2011 CATOCTIN, ARTISTS IN RESIDENCE, Delaplaine Center, Frederick, Maryland (invitational)
2011 KENTUCKY STATE FAIR, Best in Show – Purchase Award, Louisville, Kentucky
2011 HAND PRINTED, Grand Hand Gallery, St Paul, Minnesota (invitational)
Amity Art Foundation, Inc, Woodbridge, CT Ann Tower Gallery, Lexington, KY
Bickerstaff, Heath, Smiley, et al, Austin, TX Bluff Country Artist Gallery, Spring Grove, MN
Brown Manufacturing Company, Austin, TX Collectors Art Group, Cincinnati, OH
Dain Bosworth, Minneapolis, Minnesota Completely Kentucky, Frankfort, KY
Hallmark Corporation, Kansas City, Missouri Iowa Artisans Gallery, Iowa City, IA
Kentucky State Fair, Kentucky Artist Collection Grand Hand Gallery, St. Paul, MN
Mexic-Arte Museum, Austin, Texas Kentucky Artisan Center at Berea, Berea, KY
Minnesota, Mining & Manufacturing, St Paul, MN Kentucky Museum of Art and Craft, Louisville, KY
Philadelphia Museum of Art, Philadelphia, PA Kirchman Gallery, Johnson City, Texas
Post Properties Collection, Dallas, Texas Minnesota Center for Book Arts, Minneapolis, MN
Regents Hospital, Wayzata, Minnesota Northern Prints Gallery, Duluth, MN
Sower Foundation, Kansas City, Missouri Ripple River Gallery, Aitkin, MN
Springfield Museum of Art, Springfield, Missouri River Gallery, Chattanooga, TN
Sprint Corporation, Overland Park, Kansas Waters of Superior, Duluth, MN
Tweed Museum of Art, Duluth, Minnesota
University of Minnesota, Minneapolis, MN
University of South Dakota, Vermilion, SD
Growing concern for the survival of natural areas and the need I perceive in people to understand their relationship to the environment have encouraged me to work with nature related themes. My images are focused on revealing and presenting how nature has functioned. I extract the concepts which I visually explore, from my observations of natural sites, science publications, and maps. By creating these works I hope to direct the viewer’s attention to the irreplaceable value, sublime beauty, and mystery found within our natural environment.
2014 Soft Foam Printing & Mural Project, Josephine Sculpture Garden Arts Festival, Frank fort, Kentucky
2013 Pasta Machine Printing, Ripple River Gallery, Aitkin, MN
2012 Artist in Residence, Petrified Forest National Park, Relief Printing Workshop, Arizona
2012 Art in the Garden, Etching presentation, Liberty Hall Frankfort, Kentucky
2011 Soft Foam Printing Workshop, Josephine Sculpture Garden Arts Festival, Frank fort, Kentucky
2011 Artist in Residence, Catoctin Mountain Park, Presentation and Workshop, Maryland
2009 Artist in Residence, Joshua Tree National Park, Presentation and Workshops, California
2009 Working with Galleries, Women Printmakers of Austin Meeting, Austin, Texas
2008 Printing Demonstration, Annarella Home, Georgetown, Texas
2008 Presentation, Concept Development and Printing Technique, St Stephen’s Episcopal School, Austin, TX
2008 Printing Demonstration, Dougherty Art Center, Austin, Texas
2008 Working with Galleries, Presentation, Women Printmakers of Austin, Austin, Texas
PUBLICATIONS (contributing artist)
2014 Historic House and Tree Tour, Tree Coalition Publication
2013 Tree Tour, Tree Coalition Publication
2008 Trail Guide to the Northland Experience in Prints and Poetry, Calyx Press
2006 Response, Calyx Press, Lake Superior Writers & Northern Printmakers Alliance
2005 Dust & Fire, Bemidji State University Publications, Maureen Gibbon
Bachelor of Arts, Studio Art 1974; University of Minnesota, Duluth
Drafting Certificate 1976, St Paul Vocational School, St Paul, Minnesota
Bachelor of Science, Mechanical Engineering 1978; ICS Pennsylvania
I was born in Pittsburg, Pennsylvania and after moving multiple times my parents chose Minnesota where I lived until relocating to Austin, Texas, and now reside in Frankfort, Kentucky. My college years were concentrated in Duluth attending St. Scholastica, the University of Minnesota, and the University of Wisconsin, Superior. This was followed by a Drafting Certificate from St. Paul Vocational School leading to a B.S. in Mechanical Engineering during employment with Minnesota, Mining & Manufacturing. My work at 3M was focused on Product Development. I hold one patent for a wire holding devise. The need for a greater involvement with art resulted in a membership at Flatbed Press, a print publishing studio in Austin, Texas. Participation in the Serie Project at Coronado Studio and work at Slugfest Printmaking Workshop evolved into setting up my own studio. Focus on the intaglio process and stratograph, a monoprint technique have resulted in several bodies of work. "Personal Poems” is a series of small biographical etchings dealing with issues of adulthood. "Ideal Mechanical Advantage” presents the transition from the factual world of engineering to sensory perception. "Global Fables” is a collection of pieces that study of the tradition of a short story with a moral from diverse cultures. I am now focused on work which involves the perilous future of the natural world. The common factor in each of these series is the narrative thread which each piece presents.
Charred bits of wood perfected by Pacific fires, pigment-laden solutions, torn papers, woven fibers, heart and soul – materials that evoke and inspire my visual language to articulate pain, sorrow, joy, the intricacies and complexities of relationships.
Printmaking inspires me, painting feeds my soul, and incorporating castaways in works of combined collage fulfills my desire to extend life. I work on canvas and paper with always a symbolic bit of jaune interspersed for the light of the sun, a sacred reference for hope.
I graduated with a B.A. in Art and English from Houston Baptist University, August 2003.
I enjoy creating art from life. I feel that we are the sum of our experiences and that each moment is an opportunity to become something more. I think we should cherish the mundane, the every day, and the daily routines as they are the root of our personality, the fundamental base of who we are, and which contain the most comfortable moments of our lives.
Aside from subject matter I like to blur the border of media. I felt I had reached a peak in my drypoint line drawings. I have always been drawn to charcoal; the softness of the tone; the fragility of the medium. At any moment the marks could be blown or rubbed off the paper. I felt it would be a great achievement to create a reproducible print which captured the very essence of charcoal. Working with hand tools only using roulettes, sandpaper, a drypoint needle, and a scraper/burnisher I have successfully achieved my goal and feel that I have much more to learn.
When in the print studio, I most frequently create Monotypes/Monoprints and, because of the freedom this process allows, these prints become wonderful partners to my paintings.
I enjoy blending narrative and portraiture (and sometimes a bit of humor) into my works. My style is influenced by the German Expressionists and the American Social Realists.
11/18/2008 - 12/18/2008
Nancy Wilson Scanlan Gallery
Chair: Marcela Kourkova
The deadline for this event (10/1/2008) has passed.