Things That Kill- Dianne Kornberg

Things That Kill curated by Norman Lundin

“Consider, for example, such varied assassins as leaded water, pills, red meat, too much sun…. Consider, for a moment more, that of the many things that kill, countless are appealingly beautiful as well as lethal, seducing artist and viewer. How to handle these “killers” in such a way that the intended expressive implications are conveyed, is as formidable an artistic challenge as engaging the more overt content implied by the show’s title.” -Norman Lundin

Including work by: Fred Birchman, Brian Blackham, Marsha Burns, Joe Crookes, John Fadeff, Ellen Garvens, Jim Holl, Michael Howard, Amy Huddleston, Caroline Kapp, Dianne Kornberg, Riva Lehrer, Brian Murphy, Elizabeth Ockwell, Anne Petty, Glenn Rudolph, Graham Shutt, Kathy Vargas and Evelyn Woods

September 1 – October 29, 2016
Opening Reception: First Thursday, September 1, 6 – 8pm

Artist Interview #35 Part 2: Dianne Kornberg

1. In what way is your work a reflection of the theme “Things That Kill”? Is your work for this show in line with or an exception to your usual way of working?
“Madonna Bomb 2” is the second in a series of four pieces that are a response to a poem by Celia Bland. The poem describes a suicide bombing, while referring metaphorically, in the context of the project as a whole, to the “bomb” of childbirth and parenting. It is one of twenty-six images that make up the exhibition and book titled Madonna Comix.

The stylistic elements I employed for this series are unique in my work–I developed them for this particular image/text project.

The subject matter–a pregnant woman wearing a suicide vest, plus the included poetic and comic text, is loaded content, at the very least the shock of a woman surfacing as a militant combatant in a religious cause, a jihad. For me there is an equivalency between the content and the “art” and I believe the art holds its own. But you will decide for yourself if the piece is “front-loaded.”

2. How did you approach the subject matter?
The project began when Celia sent me a selection of poems about the Madonna. I found that they addressed a range of ideas: the physicality of childbearing, self-sacrifice and suffering, ecstasy and adoration. They spoke of fears and choices and of things we take on faith. They spoke to multiple experiences of being a woman.

I considered the “smart-alecky” nature of some of the poetic text. I decided to scan Lulu comic book pages, and partially erase the images to serve as the surface on which to work. The proto-feminist “Little Lulu” comic books were empowering to me as a girl in the 1950’s because Lulu stepped outside gender roles–she went her own way, had opinions, out-witted the boys. I allowed some of the Lulu text to show through to serve as a “down to earth” commentary on Bland’s lyric language. My working process was very experimental. I utilized skills from my background in painting, printmaking, and photography. In addition to the figure, I included in the image the pentimento comic book page, a map of Jerusalem, a selection of text from the poem, and text from Little Lulu.

3. Are there any anecdotal notes that may give insight to a new viewer about your work in “Things that Kill”?
When I began working with the poem “Madonna Bomb” I went on-line to learn about suicide bombers. I came across a picture of a 15 year old girl hand-cuffed to a chain-link fence, wearing a suicide vest. At the time I did not realize that girls were being used as suicide bombers. The Lulu text included in Madonna Bomb 4 reads, “A little girl! WHAT?”

“Madonna Bomb 1”, 2012, archival pigment print

“Madonna Bomb 2″, 2012, archival pigment print, 31″ x 20” image, 32.5 x 21.5” framed (included in “Things That Kill”)

“Madonna Bomb 3”, 2012, archival pigment print

“Madonna Bomb 4”, 2012, archival pigment print

Things That Kill- Fred Birchman

Things That Kill curated by Norman Lundin

“Consider, for example, such varied assassins as leaded water, pills, red meat, too much sun…. Consider, for a moment more, that of the many things that kill, countless are appealingly beautiful as well as lethal, seducing artist and viewer. How to handle these “killers” in such a way that the intended expressive implications are conveyed, is as formidable an artistic challenge as engaging the more overt content implied by the show’s title.” -Norman Lundin

Including work by: Fred Birchman, Brian Blackham, Marsha Burns, Joe Crookes, John Fadeff, Ellen Garvens, Jim Holl, Michael Howard, Amy Huddleston, Caroline Kapp, Dianne Kornberg, Riva Lehrer, Brian Murphy, Elizabeth Ockwell, Anne Petty, Glenn Rudolph, Graham Shutt, Kathy Vargas and Evelyn Woods

September 1 – October 29, 2016
Opening Reception: First Thursday, September 1, 6 – 8pm

Artist Interview #6 Part 3: Fred Birchman

1. In what way is your work a reflection of the theme “Things That Kill”? Is your work for this show in line with or an exception to your usual way of working?
All of the objects are quite literally and obviously, “Things That Kill”. This was definitely not a stretch for me or outside my usual way of working in that I started with a kernel of an idea and riffed on it. It is a bit unusual for me to work thematically, but not too much of a stretch.

2. How did you approach the subject matter?
I took the theme (or the “objects” of the theme) and used them as a basis for the work. For “Overture”, I took the trappings of targets and target shooting and used those elements as an abstraction of sorts, hopefully subjugating the loaded (no pun intended) content. Same for “Hatchet Job”. An axe handle and blade are quite beautiful as objects by themselves and by detaching the pieces, that is a bit more evident. It’s probably no accident that a person could read certain things into the separated objects, such as the detachment of the head from the “heart”, but I view that as an ok subliminal response. Icing on the cake, if you will.

3. Are there any anecdotal notes that may give insight to a new viewer about your work  in “Things that Kill”?
I used to work as an illustrator for my day job and working with themes and content were a given. Conversely, I usually resist narrative or story telling with my studio (fine art) work. That’s hard to do when working with such charged content.

One thing I should admit is that, “Witness” was really Norman’s idea. He was responding to the wrecking balls that I have in many of my current drawings and he suggested I use that. My normal response is to immediately reject that kind of advice, but somehow it stuck and I like what turned out.

“Witness”, 2016, mixed media on paper, 50″ x 19″

“Overture”, 2016, mixed media on paper, 38″ x 25″

“Hatchet Job”, 2016, mixed media on paper, 50″ x 19″

IDENTITY- A Visual Artifact: Robert Pruitt

As of January 2016, KDR has joined its affiliate PROGRAPHICA Gallery in Seattle, WA, where Eleana Del Rio and Norman Lundin will curate exhibitions jointly as well as independently within its new enitity: Prographica / KDR.

Koplin Del Rio (formerly of Culver City, CA) is pleased to present its debut exhibition in Seattle: IDENTITY- A Visual Artifact features gallery artists: Sandow Birk, Melissa Cooke, Einar & Jamex de la Torre, Laurie Hogin, Zhi Lin, Kerry James Marshall and Robert Pruitt, curated by Eleana Del Rio. 

IDENTITY- A Visual Artifact is the first of a series of three exhibitions, each featuring a select group of long-time Koplin Del Rio (KDR) gallery artists. As KDR transitions its footprint to the Pacific Northwest, the exhibitions will unveil the gallery’s distinct identity and unique visual program through the artists it represents. These artists produce work that taps into the pulse of our current point in history in order to examine identity on multiple levels—self, community and nation. 

Artist interview #39: Robert Pruitt

1. What is your ideal working environment? – space, music, lighting, etc.

My studio spaces have varied wildly over the years so I’ve had to remain flexible in terms of needs. However, I think my 3 main requirements are ample wall space, time, and isolation. My drawings are fairly large so often I’m working directly on the wall and constantly moving papers and reference images around. I’ve recently been moving back and forth from one work to another so I need space to see all of this info at once. My process is also really, really slow. I’m regularly just sitting staring at an incomplete work. This requires me to horde time to finish these works. This usually means lots of late night work sessions.

2. Is there a specific motivator in getting you into the studio? – after morning news? coffee? after family is asleep at night?

I think motivation can be a real issue at times. I try to combat any serious studio malaise by changing what types of information and media I am consuming. This can mean museum visits, comics, films, conversations with other artists and a host of other inputs. Anything to get my mind excited again. I am generally motivated by new ideas.

3. What is your preferred medium? Do you work on one project at a time or several?

At heart I am interested in the human figure. My practice is chiefly centered on large figurative drawings but I also spend a little bit of time making small comic book drawings, animations and photography. I work best when I am moving between all these types of projects at the same time.

4. Is there anything you would like to share as personal interests outside of the studio – outdoor activity, cooking, reading, museum/gallery hopping?

I am a huge homebody. My greatest pleasure is sitting home watching some decent Sci-Fi. I still read a few comics every now and then. In the last few years I’ve become a little obsessed with the NBA, but that often feels less like a hobby than research for some yet to be determined art project. I think my only real hobby is beat making. I spend a lot of time doing that. Its’ really effective in slowing me down and settling my thoughts. Its usually the first thing I do when I go into the studio. You can check out a few of them here.
https://soundcloud.com/choggzilla

5. In what way is your work a reflection of this point in history?

I believe I am one of a number of artists re-imagining the trajectory and definition of the images of People of color in art and media. I like to think that my mode of working is in alignment with an array of models changing how we see the canon of art and history.

6. With the examples of your work represented in IDENTITY: A Visual Artifact, are there any anecdotal notes that may give insight into your artist vision to a new viewer?

I would only say that viewers should consider the relationships between technology and the human figures in the work and that the notions of escapism are ever present but the meaning of that notion for me is a more nuanced idea than simple desertion.

“Your Altitude Determines Your Attitude”, 2015, coffee, charcoal and mixed media on paper, 44″ x 31″

“Archangel”, 2015, mixed media on paper, 84″ x 60″ unframed

“I Need A Vacation from this Vacation”, 2015, coffee, charcoal and mixed media on paper, 60″ x 42″

“Canopies: Tamblyn Gawley”

With each exhibition, we will post interviews with the participating artists along with a photo of said artists in their studios and images of their work. In the future, we will post videos of artist interviews.

“Canopies” opens June 27th and continues through August 22, 2015

The exhibitions includes the work of Kimberly Clark, Eric Elliott, Tamblyn Gawley & Evelyn Woods.

Reception for the artists, June 27th, 2 – 4 pm

Artist Interview #8: Tamblyn Gawley

1. Are you a full time artist, if not how do you support your art?

I am bouncing around a lot right now, but I do rely on other sources of income. Last year, I was fortunate enough to spend the year in New Zealand on a Fulbright Grant, hiking and making art.

2. When did you consider yourself an artist?

I’ve been practicing art for as long as I can remember, learning from my mom and taking lessons. Throughout high school, undergrad, and grad school, I always referred to myself as an art student or a painter. More recently, I’ve started to adopt the “artist” title, since I’m working in multiple media and “painter” isn’t very accurate anymore.

3. What are your influences?

I take inspiration from many places. Most of my source material comes from photographing tree roots and branches while hiking and camping. I’ve been thinking a lot about the self-reflective elements of modern literature, and finding ways to incorporate similar ideas in visual art. I look to a range of painters; my current favorites are Cezanne, John Singer Sargent, Sylvia Plimack Mangold, Tom Thomson and the Group of Seven, Whistler, and Jim Dine.

4. How big is your studio, what kind of lighting?

Tamblyn’s studio in Christchurch, New Zealand in 2014.

Unfortunately, I don’t have a studio right now, so I work out of my apartment. In the past, I’ve had a range of studios, the best of which had excellent natural northern light (southern light in New Zealand!).

5. What is a typical day in the studio like for you? Do you listen to music, radio or tv in your studio?

A studio day includes working on unfinished drawings or paintings, prepping plates for the printing press, running prints, working through my images and ideas for new pieces, and prepping new surfaces. When working, I usually listen to music, with a lot of Neil Young and CCR.

6. What is your preferred medium? Do you work on one project at a time or several?

For years, I worked almost exclusively in oil paint. More recently, I have been working in graphite, gouache, and lithography. I tend to have one piece that is the primary focus, but I also prep new ideas and revisit older works that I’m not satisfied with. I often work in series, so the whole series will usually be in progress as one work.

7. Do you have any special or unique tools, devices or process that you use in your art making?

In New Zealand, I was introduced to Pronto paper, a polyester lithographic plate. It’s been a wonderful medium that allows me to mix drawing and painting. The plates are quicker to work with than the traditional stone. They wear out after a series of prints, but, trained as a painter, I enjoy the limit to the number of prints I can create.

8. What do you do outside the studio, aside from a job?

I love spending time in the outdoors and exploring new areas. Whenever possible, I go hiking, backpacking, and car-camping. On these trips, I photograph the numerous branch and root formations that catch my eye, and then revisit the images in the studio at a later date. I use the images and my memories of the time and place to create my work.

“Albert Park Auckland”, 2014, gouache & lithography on paper, 38 x 56″

“Abel Tasman 1″, 2014, gouache & lithography on paper, 8 x 6”

“Abel Tasman 2″, 2014, gouache & lithography on paper, 8 x 6”

“Carolyn Krieg: Equus ferus caballus”

With each exhibition, we will post interviews with the participating artists along with a photo of said artists in their studios and images of their work. In the future, we will post videos of artist interviews.

Carolyn Krieg & Fred Birchman share the gallery space May 9 – June 20, 2015

Reception for both artists, May 9th, 2 – 4 pm

Artist Interview #7: Carolyn Krieg

1. Are you a full time artist, if not how do you support your art?

I have been a fortunate working artist since 1989 with part-time landlord, wildlife rehabilitation and Soma Neuromuscular Integration work supplementing my studio work at different times.

2. When did you consider yourself an artist?

As a child I took pictures with a Brownie and drew pictures with pencil. I wanted to be an artist beginning in 4th grade. I received a degree in French Language and Linguistics and taught for a short while before taking the leap and returning to school to study art. I had a professor my first year who said we would know we were artists when it was our discipline, our choice of work. That resonated with me- 1983.

Brownie camera

3. What are your influences?

Much inspiration comes from reading– fiction, myth, poetry, history, psychology. Where I live and with whom I live, both people and animals, how I spend time when I’m not “doing” art –all this parallels my work and in some way influences it. My parents’ only extravagance for themselves was to purchase art while raising nine children. In 1973 I moved to Paris to study (also taking mime classes with the Polish ex of Marcel Marceau). I took train and van-camping trips that included museums in France, Italy, Spain, Portugal, Greece, Turkey and Morocco (having to return home only because of amoebic dysentery). What I saw in first person, after seeing the images in books for years, blew me away. An exhibit that deeply influenced me was a floor of Impressionist work at the Hermitage which I saw during the Cold War in 1972, labeled “decadent art” and off limits to the Russian population in that era. One of my favorite museums is the Prado. Goya, Bosch, El Greco, Velasquez. I nearly lived in the Louvre some days when I lived in Paris. Recently, my favorite museum was the Gulbenkian in Lisbon—with its’ varied and beautiful Ottoman/Asian collection. Some live and some dead big name artists whose works have influenced and informed me: Jasper Johns, Chagall, Ryder, Vuillard, Frieda Kahlo, William Blake, Rembrandt, Degas, Da Vinci, Botticelli, Durer. Locally the artists whose work I own: Glenn Rudolph, Fay Jones, Jim Lavadour, Jim Kraft, Michael Spafford, Mark Calderon, Lauren Grossman. On a national level, for their translations of the animal kingdom: Susan Rothenberg, Deborah Butterfield, and William Wegman. Nancy Spero and Imogen Cunningham and O’Keefe, the list could go on.

One of the pieces Carolyn grew up with that is now in her collection: Tom Hardy’s 1951 Lithograph, “Horses and Rider”

4. How big is your studio, what kind of lighting?

My original studio of 1500 sq. feet is now my home as well, for economic reasons. I have an “office” space upstairs with my computer and printers and cameras and some storage (and a bed). I have a 10×20’ room in the barn where I store and show work and frame and paint (if not outside). The lighting is daylight florescent.

5. What is a typical day in the studio like for you? Do you listen to music, radio or TV?

There is no typical day and my art work is interspersed with my animal chores, exercise (swim or jog or horseback ride) and rental/property chores. Some days it is work on the computer, some I photograph, some I paint, some I frame, some I prepare canvases and board, but I do need variety to not get burned out. I need quiet and do not listen to anything when working. My brain is too full already. Working is one kind of meditation and connection to the universal for me where I lose track of time and place and self.

Stella at 5

Ollie at 28

Deva at 7

Boo Radley and Buttercup

6. What is your preferred medium? Do you work on one project at a time or several?

I work with all kinds of things photographic and acrylic. I sometimes use oils and resins, but after having a cancerous kidney removed, I am careful about toxic substances. I spent many years tearing apart Polaroids and altering the transparencies without gloves and printing in the darkroom handling chemicals-the craziness of youth. I work on several pieces at a time, stopping and returning when I’m fresh.

7. Do you have any special or unique tools, devices or process that you use in your art making?

I will use pretty much anything that gets my job done when I am mixing media, from any tool to any kitchen utensil. My combination of steps vary (mixing media, cameras and films), but in general begins with my conventional chemical or digital photograph. Presently, I transfer my images to a computer and use Photoshop for drawing and painting before printing on archival inkjet paper. Then I will sometimes transfer that paper onto board or Plexiglas or canvas to take it further with acrylics and sanding and more painting. With previous work, I generated a Polacolor print from the digital file, and cut/tore off the positive transparency, which I painted with oil and ink and then used in place of a negative in a traditional (analog) color enlarger. I printed on archival chromogenic paper, then sometimes transferred the print and/or transparency onto canvas or board or Plexiglas and worked further with acrylics and resins. I draw, paint, erase, sand, tear, cut and digitally manipulate. This allows for fictional gain and generational loss, similar to what happens when experience moves from perception to memory. It reflects the psychological process of teasing meaning from mystery.

8. What do you do outside the studio, aside from a job?

Currently, I swim and attend a Pilates Reformer class at least once in a week and daily jog with my dogs along a lovely little route that affords me a view of Rainier (I call her Tahoma, her original name) when she is out. I also ride my horse in nature as often as I can squeeze it in. My parents are 89 and 92 and I try to get to Portland to see them as much as possible. I try to travel abroad once a year for new inspiration and source material (and horse riding). I go to ACT theatre as a subscriber and love movies.

“Enceint”, 2015, archival inkjet print, 18.25 x 22.25”

“Paso”, 2015, archival inkjet print, 21.75 x 34”

“Tunnel”, 2015, archival inkjet print, 26 x 19.25”

“Waterfall (bw)”, 2015, archival inkjet print

“Fred Birchman: Reclamation Projects”

With each exhibition, we will post interviews with the participating artists along with a photo of said artists in their studios and images of their work. In the future, we will post videos of artist interviews.

Fred Birchman & Carolyn Krieg share the gallery space May 9 – June 20, 2015

Reception for both artists, May 9th, 2 – 4 pm

Artist Interview #6: Fred Birchman

1. Are you a full time artist, if not how do you support your art?

Until recently I was doing graphic design full-time for msnbc/NBC news. I’d get up at 4:30 a.m. to get in a few hours in the studio each day. Now I forage for nuts and berries and head to the studio at a reasonable time after breakfast.

2. When did you consider yourself an artist?

I think it was about my third year in college that I started to make art seriously. But it wasn’t until a year or so after college that it really sunk in that this was going to be a life long thing. When I had to figure out when and how I was going to make art amongst all the day-to-day stuff and it didn’t discourage me, that’s when I knew. It seemed like that would have been a good time to bail, but I didn’t.

3. What are your influences?

I had a couple of pretty strong college profs that made a big impression. Tom Schlotterback taught me how to draw and R. Allen Jensen taught me that I had to go to the studio everyday. Of course there are all the artists like Rauschenberg, Jim Dine, William Wiley, Ed Keinholz and Llynn Foulkes that I stole from…I really dug the “Cool School” guys from L.A.!

4. How big is your studio, what kind of lighting?

It’s about 290 sq.ft. (damn, that sounds small). It was built over our garage. The ceiling is about 25 ft at the point so it makes it seems a lot bigger. Maybe I should install a trapeze? I have incandescent cans on tracks. AND a big window.

5. What is a typical day in the studio like for you? Do you listen to music, radio or tv in your studio?

I usually take up where I left off the following day. Finish up a drawing and leave it hanging to glance at while I start something else. Sometimes I’ll make adjustments or fuss a bit. After a few days if I haven’t gone back into it, I’ll take it down and consider it done. I listen to NPR mostly, but occasionally I’ll put on some jazz or Neil Young. I drink a lot of coffee while I work.

6. What is your preferred medium? Do you work on one project at a time or several?

Drawing with whatever device strikes me at the time. I usually take up where I left off the following day. Finish up a drawing and leave it hanging to glance at while I start something else. Sometimes I’ll make adjustments or fuss a bit. After a few days if I haven’t gone back into it, I’ll take it down and consider it done.

7. Do you have any special or unique tools, devices or process that you use in your art making?

Nothing special. But I do believe that you have to make yourself available to making art. Go to the studio every day. If my brain is empty, I’ll start sweeping, cleaning up arranging, whatever…and before I reaIise it I’m onto something. There’s something about being in the studio that just gets you going.

8. What do you do outside the studio, aside from a job?

I enjoy cooking and my wife, Robin and I usually have folks over a couple of nights a week for dinner and wine. And we travel when we can. I don’t hang around other visual artists too much, but I have a lot of friends that are other things like builders, architects, writers, mechanics, etc. Mostly they are just great folks who inspire me and keep me curious.

“Reclaimation #3”, 2015, mixed media on paper

“Fact & Fiction”, 2015, mixed media on paper, 50 x 38″

“Line A – ReClaim”, 2014, mixed media on paper, 55 x 45”

“ReClaim: Reclining Astra”, 2014/2006, mixed media on paper, 22 x 30″

“Dale Lindman & Robert Maki” Robert Maki

With each exhibition, we will post interviews with the participating artists along with a photo of said artists in their studios along with  images of their work. In the future, we will post videos of artist interviews.

“Dale Lindman & Robert Maki” opens April 4, 2015 and runs through May 2, 2015.

Artist Interview #5: Robert Maki

1. Are you a full time artist, if not how do you support your art?

I have been a full time artist for 45 years, however I worked at several jobs before receiving my first commission. Following graduate school I taught for two years at the UW; received an NEA fellowship in 1968; worked in a plastics shop; built harpsichords; sold some artwork and exhibited in museum and gallery shows. My first major commission project was 1971-73 at Sea-Tac Airport, followed by a combination of activities such as a Rockefeller Residency in North Carolina; invitations for residencies at universities; site projects; GSA sculpture award; Senior NEA Fellowship for works on paper; gallery sales, grants, public and private commissions. As well my wife has worked throughout the years.

2. When did you consider yourself an artist?

When my gallery put my name in print with established gallery artists in the 60’s shortly after completing undergraduate school at Western Washington University.

3. What are your influences?

The first ten years of my life on the road with my father, hopping freight trains, living in multiple towns up and down the Columbia River between 1938-48 is the strongest influence in my life and work, coupled with five women in my immediate family who are strong, motivated and tireless in their efforts to care for family and the greater whole.  In my youth, mechanical drawing, a 1950’s Life magazine article on Pollack’s dripping paint and Albers’ Homage to a Square, WWII environment and exposure to American and European masters including artist such a Winslow Homer and Casper Friedrich in Jr High Humanities class.  Simultaneously a sculpture of a warped contour made from plastic string by the Constructivist artist Pevsner or Gabo, which lodged in my brain, surfacing years later, to become a critical theme in my wall constructions and drawings in the nature of ambiguous non-coplanar surfaces and voids articulating contour as idea.

4. How big is your studio, what kind of lighting?

My studios have always been large to accommodate sculpture fabrication, equipment storage, exhibition area and drawing space. In my drawing space is a large work table located for direct southern exposure and use of daylight via large rollup doors facing south and west, and large windows. I also use well balanced shop fluorescents and spots. Working outside in natural light and shadow has always been integral to my work so large roll up doors offer access to outdoor work areas.

5. What is a typical day in the studio like for you? Do you listen to music, radio or tv in your studio?

A typical day involves writing, working in the sketchbook, coffee at a small store on the beach and maintaining my three acre sculpture garden. Drawing time is usually combined with staging work and sculpture fabrication. I don’t listen to music, but instead prefer ambient sounds of my surrounding environment, process, equipment, birds, dog barks, neighbor cows mooing, coyotes yipping or howling, eagles calling,  Lake Union Air flying overhead.

In Robert’s sculpture garden: “Etruria Column”, 2005, stainless steel, 144″ x 14″ (a variation of a concept first done in 1967)

6. What is your preferred medium?  Do you work on one project at a time or several?

My works on paper are usually on vellum using graphite, dry pigments and acrylics, freehand fashion. Application techniques and process both messy and/or precise are intuitive, fluid, accidental and unexpected with intention.

7. Do you have any special or unique tools, devices or process that you use in your art making?

I work in a series. Once a piece is complete I don’t make changes or adjustments.  I like an oblique approach, looking to understand something, discover what that something is and allowing for organic evolution. I basically learn later what I have done.  Two pleasures: the process and the residue and a diary that marks time.

8. What do you do outside the studio, aside from a job?

Outside of the studio I head to the beach or wilderness with my dog Jasper. I plant trees and care for my property and outdoor sculpture garden. I’m also VP of nonprofit Wild Love Preserve, who’s mission is protect and preserve our iconic native wild horses in a collaborative and sustainable manner, so I travel regularly to the wilds of Central Idaho with my daughter and our dogs to work on and off the range with Idaho’s majestic wild horses. This work is life fulfilling in so many ways and perfectly compliments my studio activities.

“Triple Pentagon, Six Locations”, 1979, graphite on vellum, 19 x 24″ im.

“#5 Arc (3 sections- 2 white) 5, 5A, 5B”, 1980, graphite & white pigment on vellum, 19 x 24″ im.

“White Timaeus”, 1984, graphite & white pigment on vellum, 19 x 24″ im.

“Afternoon Phase / Pentagon Oval”, 1984, graphite & white pigment on vellum, 19 x 24″ im.