I am including artists' works, statements and links to the websites of each. At the very end is the image of my new stencil edition; I brought a few of these as gifts for my hosts, along with some samples, and gave the gallery a can of (art) spray paint as well.
Barbara Bruch, Seattle, WA, USA
Art is a bridge for me between my inner spiritual life and everyday existence. This work represents the result of the search for an inner spiritual realm that is luminous in structures of light and color revealing the secrets of the universe. The integral forms in this painting represents an attempt to capture the essence of the hidden organizing processes of formation—from the tiniest cellular microbe to the vast universe of galaxies. Much of my artwork is based on an interest in metaphysics, archaeology, and the physical sciences, exploring spatial concepts, underlying structures, healing, transformation, and cycles of existence.
Galaxial Spinners, 2012
acrylic, colored pencil, watercolor on Rives BFK paper
9.5 x 15 inches
Alice Dubiel, Seattle, WA, USA
Topographic maps appeal to me because they are created by physically active scientists and engineers who document the terrain directly by walking on it. Intimacy with a place affects our relationship to it. I try to see as much as I can most of the places I depict.
Here I work with an older map of Ft. Lewis and McChord Air Force Base, now Joint Base Lewis McChord, showing some landmarks which no longer exist. I was struck by the temporal nature of this document and the evasiveness of the geography to reinforce a static view. Visiting the Korean South Sea area in June 2011, I witnessed the dramatic impact of Typhoon Maeri with massive flooding and loss of life and livelihood. JBLM dominates the landscape in Western Washington state: there are always traffic jams on Interstate 5 and the social costs of war are constantly present.
I would like to create a different visual language referring to many traditions including maps, classical and middle eastern mosaics, decorative art, textile design, indigenous paintings and shrine technologies of many cultures. The term biocenology characterizes this interface of cultural and natural systems because it is the study of communities and member interactions in nature; it is an exploration of systems, part of the science of ecology. Currently I work with acrylic, encaustic, mixed media and printmaking approaches. I am trying to express the complexity of overlapping multiplicity and the tendency of natural processes to pursue cycles of life.
See notes on the text of this work
Notes on Military Archaeology 2
Domestic Violence/The War on Terror: Military Archaeology 2 (JBLM), 2012
acrylic, digital media, watercolor pencil, ink on paper
52 x 183 cm
Kathryn Glowen, Arlington, WA, USA
About a Snowman
A snowman is a benign character, and product of the natural world and childlike imagination. I think of them today as an endangered species, a bellwether of climatic change and global warming. A snowman is also an alter ego, a temporary sculpture subject to the whim of both cold and warm. The work is a continuation of my use of dictionary fragments and images to represent ideas as well as shapes.
mr. moisture and snow, sleet with fog, 2012
monotype, digital mixed media collage
10 x 15 inches
Joan Stuart Ross, Seattle and Nahcotta, WA, USA
“Your new work strikes me as a reflection of what is going on in our world today. Layers and grids of information have become the norm and we all have to navigate through them--this is in this work. It is fascinating and repelling at the same time. I am curious as to what is underneath each layer and concurrently I start to feel overwhelmed by all the grids and layers...it’s similar to how I feel about navigating technology. It is powerful and haunting work.” Angie Dixon, Artist
My encaustic and oil paintings have developed from juxtaposed jabs of color and line that create deep space and lead the eye into submerged light. Grids’ webs connect points, create dimension, and travel in time. The imposition of the grid melds layers and intersections; color fields transverse the paintings, around surfaces and perimeters.
Layers of grids, color and translucence, like layers of information, are all different, directional, yet connected, to take on a seamless quality. Variant luminosities cross one another, yet convene. Grids, dots and their trajectories open to show us what is happening beneath the surface.
encaustic on handmade paper
9 x 5 3/4 inches
Ann Leda Shapiro, Vashon Island, WA, USA
The body as landscape, energy and the interconnectedness of all are ongoing themes.
I have been creating paintings about the body based on clinical observations in my acupuncture practice. They are a compilation of human anatomy, landscape imagery, written words, medical notations and symbols.
watercolor and mixed media on paper
15 x 44 inches
Ruth Scheuing, Vancouver, BC, Canada
Ariadne Showing the Way
"Ariadne showing the way" eveolved from an earlier "to walk the line," which is part of Digital threads <digital threads.com>. It combines my interest in mythology inspired by weaving and GPS technology. The GPS tracks are grounded in everyday life, routine trips to and from work, shopping etc. here joined with a grander leap into history and foreign places via Internet connections.
The GPS tracking of all my daily activities are part of my interest in working with patterning and new technology. Jacquard weaving, similarly explored uses of hand and machine technology. Weaving technology played an important role in the industrial revolution and in Babbage's early computer, as Ada Lovelace's reference "the analytical engine weaves algebraic patterns just as the Jacquard loom weaves flowers and leaves," indicates from 1843.
"Ariadne showing the way" explores floral patterns. In this case dandelions form my backyard replace traditional ornate floral constructs. The sky is made from a traditional mid 19th cent. New Brunswick, Canadian coverlet now in the Textile Museum of Canada collection. The overshot pattern is rendered here in a fake pixelation process.
Ariadne, initially saved Theseus from the Minotaur with this simple 'ball of thread technology' that works so similarly to today's GPS. Here she stands over my house and directs me/the viewer into the opposite direction fo the blue GPS track, which goes to my workplace. Elevation data from the trip creates a dividing line between flowers and patterns, inside/outside, nature/culture, order/chaos, keeping them in a balance.
The weaving was done from my design on an industrial Jacquard loom with a multi colored warp.
Ariadne Showing the Way, 2011
Jaquard weaving, cotton
53 x 60 cm
Jessica Spring, Tacoma, WA, USA
The Girl in the Moon
A collaboration with illustrator Susan Estelle Kwas, The Girl in the Moon cycles the reader through one full moon night to view all manner of mischief. Using an innovative structure designed by Hedi Kyle, the three-color illustrations float off the page and the book can be displayed as an accordion or in a star shape.
Illustrations were printed with photopolymer plates and handset Artcraft was letterpress printed on duplexed Hahnemühle Ingres. Through the use of metallic and glow-in-the-dark inks, the book delights in both sun and moonlight. Boards are covered with indigo momigami and the book is packaged in a silver bubble-wrapped spacesuit.
Edition of 72.
The Girl in the Moon, 2011
Letterpress, polymer lithography, mixed media
5.25 x 8.25 x .75 inches
edition of 72
A gift for my hosts
Alice Dubiel, Homage to George Tiller, MD (1941-2009)
from the series, Stencils for Street and Home
28 x 20 cm
10 ml polyester stencil
“Trust Women” was a motto of George Tiller, MD. Dr. Tiller was the medical director of Women’s Health Care Services in Wichita, Kansas, US, a clinic which provided services, including abortion, to women who were over 21 weeks pregnant. In 2009, an activist opposed to women’s reproductive freedom murdered Dr. Tiller while he attended church. Dr. Tiller had assumed his father’s family practice which included abortion after the elder Dr. Tiller’s death in 1970. Ths stencil is produced in an edition of 100 using the font, Ciseaux in 10 ml polyester. Please use the stencil freely. There is no copyright, although the work is created by Alice Dubiel in 2009, the stencils in 2012.
link to Dr. George Tiller in Wikipedia:
font info: Ciseaux
Ciseaux was inspired and is dedicated to the art of paper cutting.