Tonight was the 21st Annual Women in the Arts Gallery Show and Reception in the Craft Studio, presented in conjunction with Women’s History Months as an opportunity to highlight the work of women artists.
Although this was not technically an FSU co-sponsored event, the artwork was so amazing that we thought it would be cool to share it with you all! Descriptions of the works are all taken directly from the event program. The show will remain on display in the MU Craft Studio for all of March.
Stay updated with Women’s History Month events by picking up a calendar or checking out the Women’s Center Website!
Facebook tells me, *You like this* of building a digital house for myself. Inside the house I am a woman. Inside my house I see myself hanging on the wall. Together we have four arms to finish up the work together. *You like this*
History is written for winners. But what about everyone else?
While I work I think about speed. the pace of making, and the accelerated way in which we perceive imagery in the every day. In my studio I allow speed and patience to coalesce. I take liberties with both digital tools and traditional techniques. I use Western construct of femininity as the basis for my work. I exploit both feminist strength and feminine vulnerability. With contemporary society and the contemporary self at the forefront of my mind, my work juggles issues of decoration and beauty in art.
My work is about a woman’s ability to remain centered (shown as converging dots on the belly and the self-hugging posture) despite outside pressures and judgments (represented by the dunce cap and convict’s stripes). Above all I want the viewer to feel self-acceptance and peace.
This collage was inspired from my daughter’s illness. I adapted the writing from a journal I kept through the experience. The book cover is constructed from my daughter’s wrist nametage bracelets and expended oxygen tubes. Her six-month stay in the hospital involved a great number of tubers to feed her, draw blood out of her tiny body, flow fluids in and to help her breathe. Every single one was important for life.
Referencing anatomical illustrations, this work deconstructs the human skeletal system. Putting individual pieces of a whole into a different context creates a cyclical and meditative composition.
“The Drum Circle Jerk” is a wearable sculpture that parodies the gender stereotypes and behavioral posturing often seen in American mating rituals. The hooded, bearded costume made of crocheted yarn and felt acts as a ‘second skin’ that one might don to entice a mate. Though the mannequin’s seated position and hidden face makes the character seem aloof, the active display of his large ‘bell’ and his long, latex-dipped dreadlocks – as well as the moments of vibrant color – foil the carefree illusion the figure wants to impart.
This piece is a ceramic self-portrait created in 2013. After dealing with depression issues for several years, it felt appropriate for my interpretation of myself to invoke the same feeling. I stare straight out, unfocused, with slumped shoulders, portraying the feeling that surrounds me daily, though I often keep it hidden from my peers.
“Prize vs. Possession” is a print done in ink. the two halves of a deer, one being a skull and the other flesh signifies a contradicting view of hunting. One might see it as a prize of a sport and another may see it as a much more harsh activity The elongated horns give the impression that the animal’s head hovers high above you, forcing you to look up at it.
Our mind body connection is enhanced as we spend time in solitude exploring nature. Adding continuous movement to this equation deepens the experience, combining our physical, emotions, and spiritual layers. These vessels communicate the lightness and clarity of mind that is accessed while running in open landscape as the world seems to move around me.
Going to the movies on a cold Saturday afternoon is a fond childhood memory. these were my favorite treats to get at the theater.
My artistic focus has been to tell stories visually and metaphorically through mixed media fibers explorations. I continue to be fascinated with the idea of transparency and layering. I seem to be drawn to this visual idea without consciously thinking about it. I have used the idea of collections of objects that contain memories thematically often in my work. I am intrigued with the idea of being able to see through something and hope that the viewer will want to investigate further, in the same way that an archaeologist sifts through the sand and soil for artifacts. In Becoming I am telling an autobiographical story of the forming of a young girl.
Photography has brought so much joy to my life. I feel so fortunate to have this creative outlet that keeps me thinking all the time. It is truly a wonderful experience just to lose yourself in the process of discovering an exciting image (sometimes in the most unexpected places) and to capture that image in such a way that it becomes your very own.
A subtle moment awaits in every corner of life: the flow and delicacy of the cloth texture, the tangible hardness of the hanger, with the sunshine adding to the drama.
The word home has a different meaning for each of us. For me it is an old house on a lake in Wisconsin. My parents built it in stages, with the help of relatives who dug the basement by hand and helped with the carpentry. As a child I was familiar with the homes of my Grandparents and other relatives. My parents were first generation Americans, there was a large group of relatives, counting both sides there were over a dozen families. During WWII our Mother was hospitalized with T.B. there was no treatment but rest. Any penicillin went to the war effort, to the wounded. Of necessity my brother and I were taken in by aunts and uncles. That enlarged the definition of home, but the sense of place remained. The old house has now sadly passed out of the family, but the memories of what it meant to us in times of illness and in daily life after the war remain. I see this handmade book as a visual and narrative record of that home and the real meaning of family.
I am most concerned with the activity of making. For me, whether it is the application of paint on a surface, the manipulation of clay in my hands or the mark made by a pencil on a random surface, it is a compulsive, repetitive act that derives from my own pursuit of personal gratification and my inherent sense of curiously. I am presently aligning my compulsion to make with my desire to find perfection in a mate. This distorted and obsessive sense of reality fuels my drive to recreate images of the individuals collected in this pursuit as well as acquiring objects of the failed matches in an attempt to honor those lost in the hunt.
Cats are such interesting subjects. When I walked out the door and saw Mocha stretching, it was as if she was posing for me intentionally. This was one of those fun paintings that makes you smile!
The self-portrait was inspired by catching a glimpse of myself in the mirror after my friend told me a secret, and decided I wanted to try and capture the shock that I had felt and the face that I had made within a drawing.
My work reflects my fascination with the human form and with the intangible essence of what it means to be an individual with unique characteristics, emotions, thoughts, and ideas. Insects also enthrall me. Hence, my recent work combines these two interests by utilizing insects to metaphorically mirror the unapparent human interiors. The combination of these ideas leads to work that is open to interpretation on multiple levels: ethereal, societal, ecological, internal, and/or external.
I made the metal form in this work based on part of a metal band logo. With a consideration of negative space, this work utilizes the wall to support and suspend itself thus challenging our preconceptions about the identity and strength of the materials. The steal becomes a decorative element while the beaded strands of cotton are structural.