Arabesque Art Catalog

arabesque
Judy Onofrio
Jennifer Onofrio Fornes
INTRODUCTION
Judy Onofrio and Jennifer Onofrio Fornes have wanted to show
together “forever.” I have wanted to show them together, if not
forever, for quite a long time. Both desires have come together in
Arabesque, a show that is as graceful and poignant as the name implies.
When the idea for a mutual exhibit was forming, I visited a group show
that included work by both mother and daughter. I knew then that
Judy’s new sculptures that were just beginning to include bones and
Jennifer’s mysterious figurative photographs would make a powerful,
engaging show. At that time I didn’t realize just how powerful. Judy
had undergone cancer treatment, a process that altered both of their
views of the material world. The culmination of their experiences and
backgrounds, linked with such a life-altering situation, produced the
work presented in this visceral, beautiful show.
Jill Ewald
Judy‘s bone sculptures and Jennifer’s painted photographs combine in
Arabesque to engage the viewer through humor, grace, and poignancy,
while the art invokes a desire to explore its mysteries.
JILL EWALD
Director of Flaten Art Museum
Support for this catalog was provided by the Ella and Kaare Nygaard Foundation, St. Olaf College Fine
Arts Fund, and Dr. Burton Onofrio. Photography of Judy Onofrio work by Rik Sferra and Jennifer
Onofrio Fornes work by M. Bass.
1
A RA B ES QU E
by Cynde Randall
Judy Onofrio and Jennifer
Onofrio Fornes
When I asked Judy Onofrio and her daughter Jennifer Onofrio Fornes why they
were presenting an exhibition together, Judy replied, “We’ve wanted to do this
forever.” Forever is a compelling idea. It has no beginning, no end, and, magically,
is most discernable in the present moment. In the here and now it is clear: the
two are kindred spirits and serve as the staunchest champions for each other.
As visual artists, mother and daughter are aligned on a core level. They share
a preoccupation with the material realm, wielding near alchemical force to create,
re-contextualize, or transform myriad objects into powerful works of art. Over
the years, they have produced significant and divergent bodies of work: Jennifer’s
psychologically charged art has lingered in the darker recesses of the world, while
Judy’s fantastic iconography has celebrated the abundance of life.
Their most recent work, featured in the exhibition Arabesque, illuminates a
shift in consciousness and material form that is nothing less than transformational.
It may be said that Judy and Jennifer have reinvented themselves, releasing their
attachment to earlier visual means and arriving at an aesthetic common ground
that is both elegant and sublime. Here, the object or figure no longer invites a
psychological or narrative read, but serves as a departure point for reflection on
the great mystery and transitory beauty of life.
@
Judyland detail
Hidden Among Leaves
2
In the early years, mother and daughter were steadfast companions. They
spent countless hours working side-by-side in the studio or traveling on a neverending quest for flea markets and outsider art, where Judy collected the multitude
of objects she later incorporated into her sculptures.
Judy modeled many things for her daughter. She is an amazing self-taught
artist, an advocate for other artists, and a leader in the arts community. She is
expansive in her thinking and fearless about exploring new territories. She maintains exuberance for life and grand visions for her projects. Over the course of
Jennifer’s childhood, Judy created large installations of clay sculpture, built fabric
environments, created monumental wood constructions, and generated outdoor
monuments and pyrotechnic performances. All of these things made an extraordinary impression on Jennifer, who, to this day, cites Judy as the most powerful
influence on her artistic identity.
When Jennifer left home in 1984 to pursue her life as an artist, it was clear
from the start that she was immune to the conventional boundaries of media. As
she developed her artistic practice, she found a voice that was uniquely her own.
Jennifer often employed the object as a psychological surrogate. Often bound
or confined, Jennifer’s surrogate objects spoke to the angst of entrapment and
oppression, or mortality. The darkness of this early work was viscous, crusty, and
palpably painful (and would inform her work for the next two decades). Like her
mother, as she continued to work and refine her aesthetic, she explored material
cues of mortality, creating powerful works in the spirit of momento moris.
Judy began to create jewel-encrusted shrines and sculptures from the
assortment of objects she had collected for years. Like an obsessed magician, she
incorporated literally hundreds of objects into each piece of art. These delightful,
embellished sculptures embraced her passion for outsider art (e.g., the Watts
Towers in Los Angeles and the Grotto in Dickeyville, Wisconsin) and her obsession
with collecting. They became her signature on the national scene and setting the
stage for her practice through the next decade.
Jennifer, too, had engaged a new body of work. While she had always pursued
the psychological self, in 2004 she embarked on a photographic inquiry of the
physical realm, using her own body as her material subject. Some of her images
read like strange dissected scientific specimens, divorced from any particular
identity or era. Many are framed in oval or circular shaped antique hat-stretching
frames, merging the sensibility of Victorian portraiture with a contemporary
deconstruction of the “nude.” The animated feel of this work recalled the motion
studies of early 20th-century photography and evoked a multiplicity of organic
forms, such as wings, illuminated landscapes, or clouds.
In 2007, as Judy was recovering from a serious illness, both mother and
daughter experienced a profound shift in consciousness that resulted in a transformation in their art. Judy perceived a shift in her relationship with objects when
she became interested in a box of bones that had been in the studio for years.
The resultant series, Reclining Women, proved transitional. Several months
into it, Judy created a radically different work called Bone Basket. “One day, I got
out of bed and went directly to the studio and began working with a pile of bones,”
she said. Fixing together several large cow leg bones and pelvic bones, she built a
basket-like structure. In the “basket” she placed a jawbone, still intact with its
teeth, inset with a seductive, hand-carved pear. “I loved the color and flowing
linear relationships of the bones. I knew that it was a real breakthrough,” said
Judy. Bone Basket opened the door to a whole new way of working.
A new way of thinking about bones came from Gallen Benson, her longtime
friend, artist, and devoted student of qigong and native healing practices. “Gallen
has been a transformative influence on my understanding of healing and enlightenment. When we focused on the bones, he helped me to see them as energy;
he showed me ways to work with both the physical and spiritual aspects of that
energy,” Judy said. Now taking her cues from the palette and flowing forms of the
bones themselves, Judy honed in on a new kind of rhythm. She prepared a series
of large oval panels, painting them, layer after layer, with fleshy creams and whites,
letting the paint pool, puddle, and drip into lakes of color. In some she embedded
bits of mirror to capture the viewer’s passing reflection in the surface of the work.
Mrs. B
Trace detail
3
Bone Basket
Deep Sleep detail
To each oval she attached bones, curvilinear fragments of architecture, and a
select number of hand-carved fruits and flowers, all of which she painted to
match the creamy ground. “The color felt like an energy force, something pulsing
with life,” said Judy. Her new palette evoked the freshness of life’s beginning, a
primordial ground sprouting with organic forms, a place where anything is possible.
The curves and swells of each composition create a never-ending arabesque of
form. These new arrangements, while dismissing the narrative, continue Judy’s
invitation to the viewer to linger over discrete objects and aesthetic detail. Simultaneously, they call for a moving and flowing visual experience with the total
composition. By releasing the narrative, Judy asserts the sublime experience of the
present moment. Transcending the limits of representation, she presents reality
in the first degree.
For Judy, this work is a meditation on relationships. “To me, they feel like
prayers,” she says. We cannot escape our own mortality when considering Judy’s
sculpture. As we follow the flow, we can trust that our fear exists only through the
limits of our comprehension.
Jennifer, likewise, perceived a shift in her relationship to the object. In 2008
she began a new series of photographs inspired, in part, by the sacred dance of
the Whirling Dervishes, the Sufi mystics who, since Rumi, spin to release their
attachments and align with the divine. The Dervish’s moving meditation spins on
a sacred axis, his long white dress and tall hat creating the shape of a cone, pointing
ever skyward. Jennifer was intrigued by the perfect balance of this centered intention
and the symmetrical form of the spinning body and dress.
Meditating on the Dervish and transitory organic entities, such as clouds, she
set out to release the trappings of her earlier practice. Jennifer enacted a series of
intense performances before the camera. Working in a ritualized way over many
months, Jennifer created a series of large-scale gelatin silver prints. Painting sections
of each print with dark, earthy oil pigments, she enhanced the depth of the dark and
the clarity of the light (reminding us, too, that the photograph is but an object).
Collectively, these images reveal her illuminated transformation. Ending the
spin in Deep Sleep, the dance is done, the figure has vanished – and only atmospheric light remains.
Judy and Jennifer present the elegant and beautiful Arabesque. The exhibition offers many teachings: Nothing is fixed. The energy of the material realm
never ends. Everything is changing.
CYNDE RANDALL
Cynde Randall is an artist, writer, and gallery director
of Swan Song Contemporary Arts in Maiden Rock, Wisconsin.
4
JENNIFER ONOFRIO FORNES
JUDY ONOFRIO
arabesque
A MOTHER-DAUGHTER EXHIBITION OF SCULPTURE AND PHOTOGRAPHY
JENNIFER ONOFRIO FORNES
As a mixed-media artist, I gravitate toward materials that address my
conceptual concerns. Photography’s ability to function as a memory
trigger is a facet of the medium that I am drawn to. We look to photography to claim our place in the world and our understanding of the
world. Yet this understanding only reflects a bias that is reflected in the
photograph taken and in the memories that we bring to the image. The
image itself does not necessarily embody this wealth of information, it
simply provokes the thought, taps a nerve, or perpetuates an idea. The
fraction of a second that is recorded on film not only speaks to the
specific moment that the event took place but to the past and the understanding that there could be great gaps between the two. These gaps
are what I explore in the studio.
Jennifer Onofrio Fornes (American, b. 1966) has exhibited throughout the Midwestern
and Southeastern United States. She earned a B.F.A. from the University of Wisconsin,
Madison and an M.F.A. in sculpture, photography, and drawing from the University of
California, Davis. She taught sculpture, installation, photography, and drawing at the
University of Minnesota, Morris, and she currently teaches photography, 3-D design,
and world humanities at Augusta State University. Jennifer lives with her husband,
Karl Fornes, in Aiken, South Carolina.
6
JUDY ONOFRIO
In the last two years, I have used my studio practice to process my experience of mortality, renewal, and healing. The resulting series, Stories of
Reclining Women, mirrored my journey to regain my health and was the
bridge to my current work in the exhibition Arabesque.
Stories of Reclining Women are self-portraits, to be sure, and represent my
gratitude for the support of family and friends. They are constructed
of my repertoire of sculpted and embellished forms with the addition
of bone. Gradually, as the series evolved, the female figure disappeared
completely. The new work transformed into abstracted assemblages
with an emphasis on animal bones, decorative architectural elements,
and hand-carved fruit and flowers, all of which swim in oceans of
paint. The process of working with animal bones made me increasingly
aware of their organic beauty and the life they once supported — life
that is still visible in their curves and surfaces. Through my intuitive
studio practice, I sought to move beyond a specific narrative and reach
toward a universal experience of beauty that would speak of the transitory nature of life.
In the series Arabesque, fertility and eroticism live side by side with
mortality and fragility. It is my hope that this work will evoke not only
a memory of the Garden of Eden, but celebrate the ongoing cycle of
ever-changing life, full of expectation and promise. For me, this work
is about my healing process and the celebration of being fully alive.
Judy Onofrio (American, b. 1939), a self-taught artist, has exhibited her sculptures
and mixed-media art nationally and internationally. Her artworks can be found in
public and private collections all around the world, from Australia to Finland, and
from coast to coast and all parts in between in the United States. The excellence of her
work has been, and continues to be, acknowledged through numerous grants and awards
that include the prestigious Bush Artist Fellowship, and the McKnight Foundation
Distinguished Artist Award. Judy currently lives with her husband, Burton Onofrio,
in Rochester, Minnesota, where she also maintains her artist studio.
7
OF THE DIS TA NT A ND FA M IL IA R
2010 silver gelatin print, oil
38.75 x 27.75 x 3.5 inches
HYDRA NGE A
2009 mixed media
42 x 28 x 16 inches
F RE NZY
2010 silver gelatin print, oil
38.75 x 27.75 x 3.5 inches
BONE BA S KE T
2008 mixed media
20 x 23 x 26 inches
DE E P S L E E P
2010 silver gelatin print, oil
32.75 x 23.5 x 3.5 inches
F L UX
2010 mixed media
74 x 36 x 36 inches
M ORTA L C OIL
2010 silver gelatin print, oil
32.75 x 23.5 x 3.5 inches
OW !
2009 mixed media
11 x 14.5 x 5.5 inches
W HIS PE R IN DUS T
2010 silver gelatin print, oil
38.75 x 27.75 x 3.5 inches
M E M ORY
2009 mixed media
31 x 35 x 15 inches
PA S S AGE
2010 silver gelatin print, oil
38.75 x 27.75 x 3.5 inches
S PROUT
2009 mixed media
34 x 25 x 16 inches
INK
2010 silver gelatin print, oil
38.75 x 27.75 x 3.5 inches
RHYTHM
2009 mixed media
58 x 36 x 16 inches
W ITHIN/W ITHOUT
2010 silver gelatin print, oil
38.75 x 27.75 x 3.5 inches
S C E PTE R
2009 mixed media
44 x 24 x 11 inches
S M OKE
2010 silver gelatin print, oil
38.75 x 27.75 x 3.5 inches
OA S IS
2009 mixed media
36 x 55 x 16 inches
FA L L ING AWAY
2010 silver gelatin print, oil
38.75 x 27.75 x 3.5 inches
THRIV E
2010 mixed media
44 x 11.5 x 9 inches
JUDY ONOFRIO
BIRTHPLACE
New London, Connecticut
Dance
EDUCATION
Sullins College, Bristol, Virginia
GRANTS AND AWARDS
2005
2001
2000
1999
1995
1994
1993
1983
1978
McKnight Distinguished Artist Award, McKnight Foundation
Minnesota Crafts Council Lifetime Achievement Award
Rochester Art Center Lifetime Achievement Award
Bush Artist Fellowship, 1998-99
McKnight Foundation Fellowship in the Visual Arts, 1994-95
Arts Midwest/NEA Regional Fellowship Grant, 1993-94
Minnesota State Arts Board Career Opportunity Grant
YMCA Women of Achievement Award, Rochester, Minnesota
Minnesota State Arts Board Fellowship Grant
SOLO EXHIBITIONS
2009
2008
2007
2005
2004
2003
2000
1995
1993
Jungle Dance, Sherry Leedy Contemporary Art, Kansas City, Missouri
Ringmaster: Judy Onofrio and the Art of the Circus, Chazen Museum of Art, Madison, Wisconsin
Stories of Reclining Women, Thomas Barry Fine Arts, Minneapolis, Minnesota
Voila!, Sherry Leedy Contemporary Art, Kansas City, Missouri
Come One, Come All, Traveling Exhibition 2005-06
Daum Museum of Contemporary Art, Sedalia, Missouri
Arkansas Arts Center, Little Rock, Arkansas
Rochester Art Center, Rochester, Minnesota
The North Dakota Museum of Art, Grand Forks, North Dakota
New Sculpture, Thomas Barry Fine Arts, Minneapolis, Minnesota
SOFA, Sculpture Objects and Functional Art, Chicago, Illinois,
Sherry Leedy Contemporary Art, Kansas City, Missouri 1995-2008
The Greatest Show on Earth, Sherry Leedy Contemporary Art, Kansas City, Missouri
Temptation, Gallery, Sherry Leedy Contemporary Art, Kansas City, Missouri
New Sculpture, Thomas Barry Fine Arts, Minneapolis, Minnesota
Judyland, Laumeier Sculpture Park and Museum, Saint Louis, Missouri
Judyland, Minnesota Artists Exhibition Program, Minneapolis Institute of Art, Minneapolis, Minnesota
Judyland, North Dakota Museum of Art, Grand Forks, North Dakota
SELECTED GROUP EXHIBITIONS
2008
2007
2006
28
SOFA, Sculpture Object and Functional Art, Chicago, Illinois
Sherry Leedy Contemporary Art, Kansas City, Missouri, featured SOFA Artist 2008
Cheongju International Craft Biennale, Cheongju City, South Korea
Folk Nouveau, Metro State University, St. Paul, Minnesota
The Art of Whimsy, Olmsted County Historical Society, Rochester, Minnesota
Evermore, Minnesota Museum of American Art, St. Paul, Minnesota
2004
2003
2002
2001
1999
1999
1998
1998
1997
1996
1995
1994
1993
1992
Tooth and Claw: Creatures Imaginary and Real, Tory Folliard Gallery, Milwaukee, Wisconsin
Art Chicago, Chicago, IL, Sherry Leedy Contemporary Gallery, Kansas City, Missouri
Art Chicago, Chicago, IL, Tory Folliard Gallery, Milwaukee, Wisconsin
A View from America: Contemporary Jewelry, Royal Melbourne Institute of Technology, Melbourne, Australia
Play Ball!, Thomas Barry Fine Art, Minneapolis, Minnesota
Art Form, West Palm Beach, Florida, Tory Folliard Gallery, Milwaukee, Wisconsin
Greatest Show on Earth, Sherry Leedy Contemporary Art, Kansas City, Missouri
Women On The Edge, Duane Reed Gallery, St. Louis, Missouri
Of and About Clay, Gallery Hertz, Louisville, Kentucky
Northern Clay Center, Two-Person Exhibition, Minneapolis, Minnesota
Minnesota with a Twist, Fredrick R. Weisman Art Museum, Minneapolis, Minnesota
The Figure in Contemporary Sculpture, The Tweed Museum of Art, Duluth, Minnesota
A Bountiful Beginning, Frederick R. Weisman Art Museum, Minneapolis, Minnesota
Woman in the Weisman, Collection: Spirit of Seneca Falls, Frederick R. Weisman Art Museum, Minneapolis, Minnesota
Brooching it Diplomatically, a Tribute to Madeline Albright, International Traveling Exhibition
Attitude and Action North American Figurative Jewelry, Birmingham Institute of Art and Design,
Birmingham, England
The Jewelry Gallery at DESIGN yard, Dublin, Ireland
Beadz! New Work by Contemporary Artists, American Craft Museum, New York, New York
Bright Bold & Beaded, Tory Folliard Gallery, Milwaukee, Wisconsin
Beads and Baubles, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York
Pure Vision, Fuller Museum of Art, Brockton, Massachusetts
Pure Vision, Lowe Art Museum, Coral Gables, Florida
Pure Vision, Lamont Gallery, Exeter, New Hampshire
Pure Vision, Philbrook Museum of Art, Tulsa, Oklahoma
Pure Vision, Sherry Leedy Contemporary Art, Kansas City, Missouri
Narratives International Jewellery Art Exhibition, Museum of Art and Design, Helsinki, Finland
Joyce Scott & Friends, Mobilia Gallery, Cambridge, Massachusetts
Pure Vision, Decorative Arts Museum, Little Rock, Arkansas
Passionate Obsessions, Phipps Center for the Arts, Hudson, Wisconsin
Pure Vision, Boise Art Museum, Boise, Idaho
Pure Vision, Pensacola Museum of Art, Pensacola, Florida
In Full Bloom, Sherry Leedy Contemporary Art, Kansas City, Missouri
Pure Vision, Union Art Gallery, Louisiana State University, Baton Rouge, Louisiana
Myths and Magical Fantasies, California Center for the Arts Museum, Escondido, California
American Art Today/The Garden, The Art Museum, Florida International University, Miami, Florida
Birds, Thomas Barry Fine Arts, Minneapolis, Minnesota
Embellished, National Surface Design Conference, The Lawrence Art Center, Lawrence, Kansas
Essentially Beads, Tempe Arts Center, Tempe, Arizona
Schmuckszene 1996, Handwerkmesse, Munchen, Germany
McKnight Artists, MCAD Gallery, Minneapolis College of Art and Design, Minneapolis, Minnesota
Pure Vision, Rochester Art Center, Rochester, Minnesota
Pure Vision, Sherry Leedy Contemporary Art Gallery, Kansas City, Missouri
Brilliant Stories, Arts America Program of the United States Information Agency
Touring 1992-95, Jordan, Saudi Arabia, Algeria, Morocco, Pakistan, Egypt
Holiday Exhibition, Sherry Leedy Contemporary Art, Kansas City, Missouri
Boxes, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, Nebraska
International Shoebox Sculpture Exhibition, University Art Gallery, University of Hawaii
A View from Australia, Gold Treasury Museum, Melbourne, Australia
Day of the Dead, Ann Nathan Gallery, Chicago, Illinois
Language of Jewelry, Helen Williams Drutt Collection, Röhsska Museum of Arts and Design,
Göteborg, Sweden
29
1992
1991
1990
1990
1989
1988
Museum of Applied Arts (Taideteollisuusmuseo), Helsinki, Finland
2nd Oregon Clay Invitational, Renshaw Gallery, Linfield College, McMinnville, Oregon
Collage/Assemblage, Gallery I/O, New Orleans, Louisiana
Slippery When Wet, Invitational, Olson-Larsen Galleries, West Des Moines, Iowa
Artist’s Choice, Objects Gallery, Chicago, Iowa
Objects, Olson-Larsen Galleries, West Des Moines, Iowa
American Dreams/American Extremes, Museum Voor Hedendaagse Kunst Het Kruithuis,
Hertogenbosch, Netherlands
Provinciaal Museum voor Moderne Kunst, Oostende, Belgium
Two Person Exhibition, Peter M. David Gallery, Minneapolis, Minnesota
Art for the Holidays, Sherry Leedy Contemporary Art, Kansas City, Missouri
Body and Soul, Three Person Exhibition, Steensland Gallery, St. Olaf College, Northfield, Minnesota
New Art Forms, International Exposition, Chicago, Illinois, Sherry Leedy Contemporary Art,
Kansas City, Missouri
Vision and 3-D Representation, Coffman Memorial Union Gallery, University of Minnesota,
Minneapolis, Minnesota
Arresting Form, Love of Media, Katherine Nash Gallery, University of Minnesota, Minneapolis, Minnesota
Two Person Exhibition, Peter M. David Gallery, Minneapolis, Minnesota
PERMANENT COLLECTIONS
Australia
Canada
Finland
Germany
Netherlands
United States
The National Gallery of Victoria, Melbourne, Australia
Montreal Museum of Decorative Arts, Montreal, Canada
Arabia Museum, Helsinki, Finland
Die Neue Sammelung, Pinakothek der Moderne, Munich, Germany
Museum of Contemporary Art, Voor Hedendaagsa Kunst Het Kruithuis,
Hertogenbosch, Netherlands
The Renwick Gallery, The Smithsonian American Art Museum, Washington, D.C.
Daphne Farago Collection, Museum of Fine Arts, Boston, Massachusetts
Museum of Fine Arts, Houston, Texas
Helen Williams Drutt Collection, Museum of Fine Arts, Houston, Texas
Frederick R. Weisman Museum, University of Minnesota, Minneapolis, Minnesota
The Minneapolis Institute of Art, Minneapolis, Minnesota
North Dakota Museum of Art, Grand Forks, North Dakota
Laumeier Sculpture Park and Museum, St. Louis, Missouri
McKnight Foundation, Minneapolis, Minnesota
Daum Museum of Contemporary Art, Sedalia, Missouri
Fuller Craft Museum, Brockton, Massachusetts
Hallmark, Kansas City, Missouri
Cooper-Hewitt Museum, New York, New York
Decorative Arts Museum, Little Rock, Arkansas
Greenville County Museum, Greenville, NC
Minnesota Museum of Art, St. Paul, Minnesota
National Endowment, National Council on the Arts, Washington, D.C.
North Hennepin Junior College, Minneapolis, Minnesota
Norwest Bank, Rochester, Minnesota
Rochester Community and Technical College, Rochester, Minnesota
State Foundation on Culture and the Arts, Art in Public Places, Hawaii
University of Wisconsin, Lacrosse, Wisconsin
University of Wisconsin, River Falls, Wisconsin
GALLERY AFFILIATIONS
Sherry Leedy Contemporary Art, Kansas City, Missouri
Thomas Barry Fine Arts, Minneapolis, Minnesota
Tory Folliard Gallery, Milwaukee, Wisconsin
30
JENNIFER ONOFRIO FORNES
BIRTHPLACE
Bethesda, Maryland
Mortal Coil #2 detail
EDUCATION
1991
1988
M.F.A. University of California, Davis
B.F.A. University of Wisconsin-Madison
TEACHING
1995-Present
1991-95
Professor, Augusta State University: Photography, 3-Dimensional Design,
Installation, World Humanities,
Assistant Professor, University of Minnesota, Morris: Studio Foundations,
Sculpture, Photography, Inquiry
HONORS AND GRANTS
2008
2007
Faculty Research and Development Grant, Augusta State University, Augusta, Georgia
Faculty Research and Development Grant, Augusta State University, Augusta, Georgia
Faculty Research and Development Grant, Augusta State University, Augusta, Georgia
2005-06 Governor’s Teaching Fellow, University of Georgia, Athens, Georgia
1994
Professional Development Grant, University of Minnesota, Morris, Morris, Minnesota
1993
Professional Development Grant, University of Minnesota, Morris, Morris, Minnesota
1992
Professional Development Grant, University of Minnesota, Morris, Morris, Minnesota
1990
Materials and Research Grant, University of California, Davis, Davis, California
SOLO EXHIBITIONS
2007
2006
2002
2000
1999
1997
1996
1995
1994
1991
1989
Dusk, The Arts Center, St Petersburg, Florida
Recent Work, Mary Pauline Gallery, Augusta, Georgia
Waiting Room, Sherry Leedy Contemporary Art, Kansas City, Missouri
Beyond the Surface, Gertrude Herbert Institute of Art, Augusta, Georgia
Skin and Bones, Sherry Leedy Contemporary Art, Kansas City, Missouri
Recurring Gaps, University of South Carolina, Aiken, Aiken, South Carolina
Current Works, University Center, Rochester, Minnesota
27, Installation, Augusta State University, Augusta, Georgia
Stall, Installation, Rochester Art Center, Rochester, Minnesota
Tethered, Installation, Mankato State University, Mankato, Minnesota
Still Room, Installation, Leedy-Voulkos Art Center, Kansas City, Missouri
Still Room, Installation, HFA Gallery, University of Minnesota, Morris, Minnesota
Silent Ground, Installation, University of California, Davis, California
Interior View, Installation, Oblong Salon, Davis, California
SELECTED GROUP EXHIBITIONS
2009
2008
Recent Works, New Space Gallery, Augusta, Georgia
Art Chicago, Sherry Leedy Contemporary Art, Kansas City, Missouri
Lightsome Recall, Sherry Leedy Contemporary Art, Kansas City, Missouri
31
2008
2007
2006
2005
2004
2003
2002
2001
2000
1999
1998
1997
1996
1995
1993
1992
1991
1990
1988
32
Summer Invitational, Thomas Barry Fine Arts Gallery, Minneapolis, Minnesota
Lois Hodgell Invitational, University of Minnesota, Morris, Morris, Minnesota
Of Art And Artists, Gertrude Herbert Institute of Art, Augusta, Georgia
Beyond Likeness, North Dakota Museum of Art, Grand Forks, North Dakota
Transition, New Space Gallery, Augusta, Georgia
Something About Soul, JB White’s, Augusta, Georgia
SOFA, Sculpture Objects and Functional Art, Chicago, Sherry Leedy Contemporary Art,
Kansas City, Missouri
Of Art And Artists, Gertrude Herbert Institute of Art, Augusta, Georgia
Morris Museum of Art, Invitational, Augusta, Georgia
Move, Invitational, Rochester Art Center, Rochester, Minnesota
Thirteen Moons Invitational, Thirteen Moons Gallery, Santa Fe, New Mexico
Autumn Art, North Dakota Museum of Art, Grand Forks, North Dakota
Fiber Exhibition, Sherry Leedy Contemporary Art, Kansas City, Missouri
Of Art And Artists, Gertrude Herbert Institute of Art, Augusta, Georgia
SOFA, New York City, Sherry Leedy Contemporary Art, Kansas City, Missouri
Thirteen Moons Gallery, Group Exhibition, Santa Fe, New Mexico
Survey Fiber 2002, Snyderman Gallery, Philadelphia, Pennsylvania
SOFA, Sculpture Objects and Functional Art, Chicago, Snyderman Gallery, Philadelphia, Pennsylvania
SOFA, Sculpture Objects and Functional Art, Chicago, Sherry Leedy Contemporary Art,
Kansas City, Missouri
Figurative Metaphors, Rochester Art Center, Rochester, Minnesota
Points of View, Mississippi Gulf Coast Community College, Gautier, Mississippi
House Guests, Linda Durham Contemporary Art, Galisteo, New Mexico
The Summer Show, Sherry Leedy Contemporary Art, Kansas City, Missouri
The Big Bang, Rochester Art Center, Rochester, Minnesota
Arts in the Heart, Gertrude Herbert Institute of Art, Augusta, Georgia
Sacred Spaces, Rochester Art Center, Rochester, Minnesota
Arts in the Heart, Gertrude Herbert Institute of Art, Augusta, Georgia
Leedy-Voulkos Invitational, Leedy-Voulkos Art Center, Kansas City, Missouri
Ware’s Folly, Gertrude Herbert Institute of Art, Augusta, Georgia
Stop to Consider, Leedy-Voulkos Art Center, Kansas City, Missouri
A Silence Broken, Leedy-Voulkos Art Center, Kansas City, Missouri
The National Exposure Exhibit, ARC Gallery, Chicago, Illinois
51st Annual Sioux City Juried Exhibition, Sioux City Art Center, Sioux City, Iowa
13th Annual WARM Exhibition, Minneapolis College of Art and Design, Minneapolis, Minnesota
Minnesota Metaphors, Rochester Art Center, Rochester, Minnesota
The Gift, University of California, Davis, Davis, California
Photography, Davis Art Center, Davis, California
House of Gesso, Oblong Salon, Davis, California
Conflict of Interests, University of Wisconsin, Madison, Wisconsin
arabesque
St. Olaf College
Flaten Art Museum, Dittmann Center
1520 St. Olaf Avenue, Northfield, MN 55057
February 2010