Biological Accumulations (potentiators), 2009
Cast Paper, Glass Beads, Copper Wire, Heat Shrink Tubing, 11 x 21.5 x 16.875"
Biological Accumulations (potentiators), 2009
Cast Paper, Glass Beads, Copper Wire, Heat Shrink Tubing, 11 x 21.5 x 16.875"
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untitled (potentiators), 2009
Glass, Copper Wire, Vellum, Matte Medium on Matte Board, 11.5 x 8 x 1.5"
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Invasive Species considers the issue of loss due to the introduction of foreign species of plant, insect, fungus, and other pathogens. Endangered and extinct species of animal and bird have long been addressed, yet the loss of tree species due to invasive organisms remains scarcely scrutinized. Deforestation in the public discourse has largely been focused on industry, particularly logging, and urban sprawl. What of the loss accelerated through the introduction of natural factors via globalization (trade) and climate change (the alteration of migration patterns and temperature changes promoting ideal climates for foreign species to thrive.)
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Precipitates began as an investigation into the apparent over population of bull kelp in the near-shore waters of British Columbia. Was there a causal relationship between global warming, rising sea temperatures, the loss of coastal environments and the prima facie abundance of bull kelp in the northern Pacific waters? On the contrary, bull kelp forest populations, with their preference for cold water conditions, will be adversely affected by the rising sea temperatures associated with global warming. The species, however, thrive in carbon dioxide rich environments, and the presence of higher levels of carbon dioxide could very well offset some of the negative impacts of increased water temperatures. These contradictory connections between cause and effect speak to the complex relationships between action and consequence, specific ecosystems and the environment as a whole.
Second Order Consequences/Precipitates (heuristics), 2007
Gouache, Pencil, Oil Crayon on Paper, 27.75 x 39.5"
Second Order Consequences is a current in process project developed from collected research on climate, the theory of differentiation, and evolution. The drawings and mixed media works explore memory in terms of cryoturbation (organic material that is slowly pushed below the surface of the active layer [ice] existing for ages in a state of suspended animation) and second-order consequences. The consequences of humans on the environment are exponential: we produce/use, the environment shifts significantly, species ways of life alter, the language we use is forced to adapt. These varied topics all lead to an inquiry into familiar sites and memory, specifically the environment and human biology.
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Second Order Consequences (XIX) precipitates
2007, Pencil on Matte Board, Oil Crayon on Glassine, 7.5 x 9.5"
Private Collection, Beacon, New York
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Second Order Consequences (II) Exponential, 2005
Gouache, Pencil on Paper, 49.5 x 29.5"
Collection of Weil, Gotshal, & Manges, LLP, Redwood Shores, California
Second Order Consequences (VII)
2006, Gouache, Pencil on Paper,39.5 x 27.75"
Collection of Weil, Gotshal, & Manges, LLP, Redwood Shores, California
Elaborate Mythologies, 2005, Slip Cast Porcelain, Beaded Glass Tubes, Thread, Acrylic, 3 x 4 x 4'
Elaborate Mythologies is an investigation into information placement, memory, and response, created through the repetition and alteration of a unique form based on studies of nudibranchs and tunicate filters. Elaborate Mythologies is an interpretation of relationships: object to object, movement and intentionality, repetition and anomaly. The image is a culmination of studio experiments based on distinct biological forms that I associate with memory filtration, and the consequent movement through a space and time. The hundreds of slip cast porcelain forms with beaded glass tubules areresiduals of experience, sedimentary objects, markers of time and ritual.
Palimpsest (excerpts), 2005, Cast Paper Tiles, Beaded Glass Appendages, Thread, Plastic, Wax, Acrylic, 88 x 88 x 79”
Palimpsest (Excerpts) is an exploration into histories of information; the sources, translations, and inevitable continuation of communication we inherit and develop--be it in the form of biology, experience, or esoteric action. The development of Palimpsest began with a focus on the histories of a space; the gallery, like any environment or individual, is an accumulation of memories and experiences. I associate the gallery with a palimpsest, a document whose history is of numerous writings, with previous texts partially erased though still legible. Palimpsest (Excerpts) is a means to discuss the pull between a marked space and the facade of a sterilized environment, the relationship between human experience and the histories we isolate, both consciously and unconsciously. The cast paper tiles erupt with the flow of information of beaded glass appendages cascading onto the floor. The source of information cannot be traced back to one initial thought, moment, object, or point and begins to put forth a notion of circular information and experience. The expansion of the appendages is equivalent to the ebb of information through synapses. A constant flow can be inferred, through both the construct of the gallery and the work,bringing to question the origins, destination, and effect of the information.
elaborate autobiographies (1,2,3), 2004, Glass, Wax, Thread, Mixed Media, 1.5 x 10.25 x 2.75”, 1.875 x 13.75 x 5”, 1.75 x 9 x 2.5”
Education
M.F.A., 2000, Glass, Alfred University
B.F.A., 1997, Studio Art, University of Wisconsin—Madison
Solo Exhibition Record
2010
Biological Accumulations, Earlville Opera House, Earlville, NY
Inurements, Lipscomb Gallery, Greenville, SC
2007Neologisms, Go North Gallery, Beacon, NY
2005
Conflate, Three Rivers Community College, Norwich, CT
Corollaries, Truckee Meadows Community College, Reno, NV
2003
Palimpsest, Louise Jones Brown Gallery, Duke University, Durham, NC
Group Exhibition Record
2009
State of the Union: Contemporary Craft in Dialogue, Philadelphia Art Alliance, Philadelphia, PA
2008
Origins, Fox Art Gallery, Philadelphia, PA
Organics, Robert A. Peck Gallery, Riverton, WY
2007
Sublime Climate, The Cambridge School of Weston, Weston, MA
A Natural Order: Art Exploring the Organic and Artifice, Claypool-Young Art Gallery, Morehead, KY
The Thread Counts Project, Gallery Artists Studio Projects, Brookline, MA
2005
Subanatomy, Sonoma Museum of Contemporary Art, Santa Rosa, CA
The Obsessive Surface, Tower Fine Art Gallery, Brockport, NY
Technicolor, Claypool-Young Art Gallery, Morehead, KY
2003
Night of 1,000 Drawings, Artists Space, New York, NY
Faculty Invitational, Elder Gallery, Nebraska Wesleyan University, Lincoln, NE
2002
Night of 1,000 Drawings, Artists Space, New York, NY
Empathy, Tremont Gallery, Boston, MA
Thirteenth National Juried Exhibition, Viridian Artists @ Chelsea, New York, NY
Digital Visions, The Center for Contemporary Art, Sacramento, CA
Dimensions 2002, Associated Artists, Winston-Salem, NC
2001
It Makes Me Sick, Longwood Arts Project, Bronx Council on the Arts, Bronx, NY
Outdoor Light Exhibition, Glass Art Society Conference, Museum of Luminous Phenomenon, Corning, NY
Three Rivers Arts Festival, Pittsburgh, PA
Beecher Digital Art, Beecher Center for Technology in the Arts, The Butler Institute of American Art, Youngstown, OH
24th Harper National Exhibition: Small Works, Harper College Art Center, Palatine, IL
4th Biennial Exhibition, A.I.R. Gallery, New York, NY
Sixteenth Annual Greater Midwest International Exhibition, Art Center Gallery, Warrensburg, MO
23rd Annual Contemporary Crafts, MCA, Mesa Arts Center, Mesa, AZ (catalogue)
2000
Outdoor Light Exhibition, Museum of Luminous Phenomenon, Alfred, NY
Dissection in Whole, Fosdick Nelson Gallery, Alfred University, Alfred, NY
Eclectic, Davies Building, Wellsville, NY
1999
Outdoor Light Exhibition, Museum of Luminous Phenomenon, Alfred, NY
Print Exhibition, Robert Turner Gallery, Alfred, NY
1998
Neon and Light, Madison, WI
1997
John A. Logan College 3rd Biennial Crafts Regional, Museum and Art Galleries, John A. Logan College, Carterville, IL
Vitriguanius, Gerhke Gallery, Madison, WI
Unconfined Creative Illuminations, 611 Langdon Street, Madison, WIExploring the Abyss, 611 Langdon Street, Madison, WI
SHE, 611 Langdon Street, Madison, WI
1996
13 Even, University of Wisconsin Gallery, Madison, WI
144 Hrs. Soak Salon, University of Wisconsin Gallery, Madison, WI
1996 Stateline Vicinity Exhibition, Rockford Art Museum, Rockford, IL
University of Wisconsin 1996 Invitational Neon & Light Exhibition, Stock Pavilion, Madison, WI
1995
Photography Exhibit, Madison, WI
Coming Out Show, University of Wisconsin Gallery, Madison, WI
Artist Residencies
2002
Vermont Studio Center, Johnson, VT
Assilah Forum Foundation, Assilah, Morocco
2001
Cité Internationale des Arts, Paris, France
Bibliography
Artweek, exhibition review, Palo Alto, CA, July/August 2005, Colin Berry, page 13.
The New York Times, exhibition review, New York, NY, October 26, 2001, Holland Cotter, page E-35.
American Craft, exhibition announcement with photograph, New York, NY, Volume 61, Number 2, April/May 2001, page 84.
Phoenix New Times, exhibition review, Phoenix, AZ, February 15, 2001, Edward Lebow.
Visiting Artist Lectures, Critiques, & Workshops
2005
Three Rivers Community College, Norwich, CT
State University of New York, Brockport, NY
2004
Pratt Institute, Brooklyn, NY
2002
Vermont Studio Center, Johnson, VT
2001
Nebraska Wesleyan University, Lincoln, NE
1997
San Jose State University, San Jose, CA
Corporate Collection
Weil, Gotshal, & Manges, LLP, Redwood Shores, California
Private Collections
New York, California, Illinois, New Jersey, Pennsylvania, Virginia, Wisconsin, Iowa, Missouri, Nebraska, Oregon, Canada, Austria, Morocco, Australia
Commission
1995
PIMA, Commission, University of Wisconsin Health Services, Madison, WI
Publication
2006
Arts Information Resource, http://rbabrams.blogspot.com/
2002-2006
Contributing Editor and Writer, Art For Real, http://www.artforreal.org/
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