Art Portfolios, from 2001 to the present, convey themes of light, energy, atmosphere, nature, geography, and history. Each portfolio ponders the connection between individual, atmosphere and culture. Click portfolio for information.
[2019-Present] consists of large mixed media bicycle prints. Layers of cyanotype, tea toned cyanotype and paint created layered backgrounds that evokes temperature, sound and solar energy. Selections from this body of work was invited for a solo exhibition with LHUCA in Lubbock and received coverage in Glasstire.
tea toned cyanotype on paper, 55x72
tea toned cyanotype an latex paint on paper, 55x72
Charles Adams Gallery, Lubbock, TX
cyanotype on paper, 55x72
cyanotype on paper, 55x72
cyanotype on paper, 55x72
cyanotype on paper, 55x72
cyanotype on paper, 55x72
cyanotype on paper, 55x72
tea toned cyanotype on paper, 55x72
[2018-Present] Notes from the Desert Aquarium is the titled of an exhibition of tea toned tyanotypes. These are created by submerging cyanotypes in tea to create a brown patina. Tumbleweed imagery, a complex icon of individuality, is integrated into the background. tumbleweeds evoke energy on an individual level, while the process of using sunlight evokes energy on a global level.
tea toned cyanotype and ink on paper, 42x30
Wright Gallery, Texas A&M
tea toned cyanotype and ink on paper, 42x30
tea toned cyanotype and ink on paper, 42x30
tea toned cyanotype and ink on paper, 42x30
tea toned cyanotype and ink on paper, 42x30
tea toned cyanotype on paper, 30x42
tea toned cyanotype, gouache and ink on paper, 42x30
tea toned cyanotype on paper, 30x42
tea toned cyanotype on paper, 42x30
[2018-Present] Solitude of Selfie is a body of mixed media drawings that celebrates the 100th year anniversary of the 19th amendment 2020. Elizabeth Cady Stanton’s handwriting is digitized and cyanotyped (blueprinted) into the background of compositions about Stanton’s address Solitude of Self arguing for suffrage. History is illuminated and reworked into contemporary compositions. A workshop component of the project asks participants to take a “tour” around Elizabeth Cady Stanton’s 19th century feminist address Solitude of Self. They are asked to read, write, count and draw their way around the address. Artwork for this project integrates primary documents for the Woman’s Bible project in 1898.
Purchase Workbook Solitude of Selfie 2021
Solitude of Selfie Workshop, The Poetics, Politics, and Praxis of Transnational Feminisms, National Women’s Studies Association, virtual format, Oct. 15, 2021
Solitude of Selfie CAA ARTexchange, CAA Services to Artists, Committee & Hokin Project, Hokin Gallery, Columbia College, Chicago, IL, Feb. 14-24, 2020
Solitude of Selfie, Women’s Rights National Historical Park, Seneca Falls, NY, Sept. 1-Nov. 15, 2018
Solitude of Selfie, South Texas College, McAllen, TX, Ap. 26-May 30, 2018
The game’s afoot! Carol Flueckiger, Women Studio Workshop by Susan Chute, 2018
Solar Painting mixed media body of work inspired by 19th century women’s suffrage essay by Nancy Moyer, Special to the Monitor, Vida Art, The Monitor, Monday, May 7, 2018
artist book, self published on blurb
workshop
2021 conference workshop, online format
pen and digital
pen, letterpress, digital
pen, letterpress, digital
Drawing/Digital, 2023
Digiital/Drawing, 2023
thirty three compositions in cyanotype and pen on paper, 17x11
cyanotype and pen on paper, 17x12
cyanotype and pen on paper, 17x12
cyanotype and pen on paper, 17x12
[2013] Three Eleanors: A Solar Powered Paper Doll Production, is an interdisciplinary (art and theatre) devised theatre project with a colleague that was about feminist historic figure that share the name Eleanor. Artwork for production incorporates historic archives from Eleanor Roosevelt Paper Project, George Washington University and Eleanora Duse collection, special collections of the university of Glasgow library, into the compositions. The production was presented at three venues: a theatre venue, Stage Left Studios in NYC, a national park venue: Women’s Rights National Historical Park in Seneca Falls, NY and an art gallery venue, CASP art studio gallery in Lubbock, TX.
Three Eleanors: A Solar Powered Paper Doll Production Stage Left Studios, NYC, eleven performances –July 24-Aug. 4, 2013
Women’s Rights National Historical Park, Seneca Falls, NY, July 20, 2013
Charles Adams Studio Project, Lubbock, TX, July 13, 2013
Three Eleanors by Brooke Pierce, EDGE Media network Contributor, Sunday July 28, 2013
Julia Jochner on Three Eleanors A Solar Powered Paper Doll Production at Stage Left Studios
Artwork & Design for devised theatre production, Charles Adams Studio Project, Lubbock, TX, Women's Rights National Historical Park, Seneca Falls, NY, Stage Left Studios, NYC, 2013
Artwork & Design for devised theatre production, Charles Adams Studio Project, Lubbock, TX, Women's Rights National Historical Park, Seneca Falls, NY, Stage Left Studios, NYC, 2013
Artwork & Design for devised theatre production, Charles Adams Studio Project, Lubbock, TX, Women's Rights National Historical Park, Seneca Falls, NY, Stage Left Studios, NYC, 2013
Artwork & Design for devised theatre production, Charles Adams Studio Project, Lubbock, TX, Women's Rights National Historical Park, Seneca Falls, NY, Stage Left Studios, NYC, 2013
Artwork & Design for devised theatre production, Charles Adams Studio Project, Lubbock, TX, Women's Rights National Historical Park, Seneca Falls, NY, Stage Left Studios, NYC, 2013
Artwork & Design for devised theatre production, Charles Adams Studio Project, Lubbock, TX, Women's Rights National Historical Park, Seneca Falls, NY, Stage Left Studios, NYC, 2013
[2012-2017] Solar Powered Paper Dolls is a body of artwork about Elizabeth Cady Stanton’s address Solitude of Self. It is part paper doll, part history lesson and part geography lesson. I have digitized archives of feminist handwriting and paper doll graphics from American Antiquarian Society, Worcester, MA, Library of Congress, Washington D.C. and Women’s Rights National Historical Park, Seneca Falls and turned them into transparencies that are used to blueprint the archives into painted surfaces, paper and fabric.
American Dream, K Space Contemporary, Corpus Christy, TX, July 7 – Aug. 18, 2017
FATE 2015 Biennial: National Juried Members Exhibition, Herron School of Art and Design, Indianapolis, IN, March 4-April 18, 2015
16th Annual Salon Art Club Show, Williamsburg Art and Historical Center, Brooklyn, NY, 24-Feb. 22, 2015
Feature Artist, Collectable Global Art Book, 2013
cyanotype on paper on folded xerox paper, 8x6
cyanotype on vellum, 12x5
cyanotype on vellum, 12x5
cyanotype on vellum, 12x5
cyanotype on paper on folded xerox paper, 8x6
cyanotype on paper on folded xerox paper, 8x6
cyanotype on paper on folded xerox paper, 7x5
cyanotype on watercolor paper, 7x5
cyanotype and pen on paper, 7x5
cyanotype on paper on folded xerox paper, 12x6
cyanotype and pen on paper, 7x5
cyanotype, latex paint on paper & wood blocks, 7x5
(2014-ongoing)
[2011] Thrift Store Blues, a dance choreographer by Val Hill for Flatlands Dance theatre production, used my artwork as stage, costume and inspiration. The dance is about the life cycle of a shirt. Cotton rags are recycled to become stationary containing words about suffrage and abolitionism. Fancy 19th century vintage paper doll graphics are printed directly onto thrift store shirts in a reverse game of paper dolls questions the standards of female beauty and fashion. How did early American female corsets dictate and hinder ideas? How does contemporary clothing do this today? Can collected cotton rags be stationary for letters about feminist history? What is the balance between images of beauty and images of handwriting that contain beautiful ideas? Photo credit: Naomi Hill
Artwork & Design for dance production Thrift Store Blues, 2011
Artwork & Design for dance production Thrift Store Blues, 2011
Artwork & Design for dance production Thrift Store Blues, 2011
Artwork & Design for dance production Thrift Store Blues, 2011
[2008-2020] Cash Paid for Rags is a body of artwork that is part paper doll, part history lesson, part thrift store shirt. It is about transformation and recycling of history that ponders the relationship between inherited culture and individual impulse. I have digitized archives of feminist handwriting and paper doll graphics from American Antiquarian Society, Worcester, MA, Library of Congress, Washington D.C. and Women’s Rights National Historical Park, Senca Falls and turned them into transparencies that are used to blueprint the archives into painted surfaces, paper and fabric. I was awarded funding to traveled to WRNHP, American Antiquarian Society and Library of Congress to visit with scholars and study early American feminist history, the Woman’s Bible, vintage paper doll graphics dress reform broadsides and broadsides that called for rag collection. Women’s Rights National Historical Park invited me to exhibit and conduct a workshop for Art Afire! Program celebrating the first women’s rights convention in 1848.
TTU CAHSS Grant, Women’s Bible Research for Art, Library of Congress, Washington DC (2500.00), 2012
Arts Afire!, Women’s Rights National Historical Park, Seneca Falls, NY, June 19-22, 2012
Historical Prints Fact and Fiction, Worcester Center for Crafts, Worcester, MA, Oct. 27-Nov. 17, 2012
Cash Paid for Rags Artist Presentation, Annual Conference Art = Community, St. Edwards University, Austin, TX, April 8-10, 2012
Ladies First, Louise Hopkins Underwood Center, Nov. 20-Jan. 27, 2009
Faculty Development Leave, Early American History in Art, Travel to Women’s Rights National Historical Park and American Antiquarian Society, Fall Semester, 2008
cyanotype on thrift store shirts
Cyanotype on postcards and thrift store shirts, printed from primary documents at Women's Rights National Historical Park, American Antiquarian Society, 2012
cyanotype 19th century dress reform broadside on thrift store shirt, 2012
cyanotype 19th century paper doll instructions on thrift store shirt, 2012
cyanotype 19th century dress reform broadside on thrift store shirt, 2012
cyanotype 19th dress reform broadside on thrift store shirt, 2012
cyanotype 19th century paper doll little Eva on thrift store shirt, 2012
thrift store shirt in ring binder, 2012
Silkscreen on thrift store shirt, printed from primary document at American Antiquarian Society, 2012
Silkscreen on thrift store shirt, printed from primary document at American Antiquarian Society, 2012
Silkscreen on thrift store shirt, printed from primary document at American Antiquarian Society, 2012
19th century Rags Wanted broadside
19th century dress reform broadside
19th century paper doll
19th century paper doll instructions
19th century paper doll
19th century paper doll
19th century paper doll Little Eva from Uncle Tom’s Cabin
19th century paper doll Topsy from Uncle Tom’s Cabin
19th century letter, Abby Kelley Foster
19th century letter, Angelina Grimke
Willard’s History of the United States
19th century letter, Sarah Grimke
[2011-2012] Pavement to Prairie and Sustainable Cabin are two art/architecture projects. Pavement to Prairie blueprints native grasses into the interior doors of Charles Adams residence. Big bluestem is gathered from Adam’s ranchland in Garza county and printed into his urban home in downtown Lubbock. This project seeks to honor the pre cotton landscape of west Texas. Sustainable Cabin, is a small house project by Upe Flueckiger inspired by Henry David Thoreau and Le Corbusier. I was invited to blue print the signatures of these two historic figures into the interior wall cladding.
Back to the Cabin more inspiration for the classic American getaway, Dale Mulfiner, photographs by Cheryl Koralik, Taunton Press, CT, 2013
Small Houses in Nature, 2012, Artwork permanently installed into walls of Sustainable Cabin Texas Architect, Sustainable Cabin, November/December 2012, p. 61
Pavement to Prairie, Cityscape/Greenscape showcases avenue j eco-friendly redesign Lubbock Art Festival, Civic Center, Lubbock, TX, April 8-10, 2011
Cyanotype & paint on wood, 4x4, 2012
Cyanotype & paint on wood, 4x4, 2012
Cyanotype & paint on wood, 10x10 & 4x4, 2012
cyanotype grasslands on pocket doors for Charles Adams residence, 2011
Artwork installed in Upe Flueckiger’s Design Build Sustainable Cabin Project, blueprint on painted wood, inserted into wall cladding, 2010
Artwork installed in Upe Flueckiger’s Design Build Sustainable Cabin Project, blueprint on painted wood, inserted into wall cladding, 2011
Artwork installed in Upe Flueckiger’s Design Build Sustainable Cabin Project, blueprint on painted wood, inserted into wall cladding, 2010
Artwork installed in Upe Flueckiger’s Design Build Sustainable Cabin Project, blueprint on painted wood, inserted into wall cladding, 2010
Artwork installed in Upe Flueckiger’s Design Build Sustainable Cabin Project, blueprint on painted wood, inserted into wall cladding, 2010
Blue Prints in a series of mixed media paintings on wood panel and paper. A cyanotype (blue print) base layer allows for photographic imprints of laundry tag graphics, early America paper doll graphics and feminist handwriting. The imagery of paper doll graphics, laundry tags, leaves and handwriting toggle back and forth between past and present, focus and blurry. I was awarded funding to study archives at Women’s Rigths National Historical Park in 2006. And I was awarded an artist residency at Vermont Studio Center in 2006. The Drawing Center accepted my work for inclusion in the Artists Registry in 2006.
Ladies First, Louise Hopkins Underwood Center, Nov. 20-Jan. 27, 2009
Will Send Woman’s Bible, Eula Mae Edwards Museum/Gallery, Clovis, NM, May 6-June 30, 2008
Sun Pics to Mega Pixels: Archaic Processes to Alternative Realities, Williamsburg Art and Historical Center, Brooklyn, NY, Sept. 9-Nov. 4, 2007
A Way With Words a group exhibition in a variety of media, Galveston Art Center, Galveston, TX, Jan. 27-Mar. 11, 2007
Recent Work, CIRCA Gallery, Minneapolis, MN, Oct. 20-Nov. 22, 2006
TTU Gloria Lyerla Library Travel Grant, Women’s Rights National Historical Park ($750.00), 2006
Vermont Studio Center, Artist Residency, Jonson, VT, 2006
Artist Registry, Drawing Center, NYC, 2006
detail
cyanotype and graphite on painted wood, 48x44, 2007-2012
cyanotype and graphite on painted wood, 48x44, 2007-2012
cyanotype and graphite on painted wood, 48x44, 2007-2012
detail
cyanotype and graphite on painted wood, 48x44, 2007-2012
detail
cyanotype & paint on wood, 4x4, 2007-2012
detail
cyanotype, latex paint and fabric dye on wood block, each 7x5, 2007-2012
cyanotype on painted wood, 18x18, 2007-2012
cyanotype and latex paint on wood panel, 48x44, 2007-2012
detail
2006
[2006] Post Cards from the Laundry Room I print postcards with laundry tags to indicate travel and globalization from the simple act of folding my weekly laundry. Throughout the summer of 2004 I have traveled weekly to Pakistan, China, Jamaica, turkey, Russia, Canada an Egypt through the back door of the laundry room. globalization takes on a tangible quality when examined through the simple act of folding my family’s laundry.
New American Talent: The Twenty-First Exhibition, Arthouse, Austin Texas, June 17-Aug. 20, 2006
New America Talent Exhibition, printed postcards made from imagery on clothing tags, 4x6, 2006
New America Talent Exhibition, printed postcards made from imagery on clothing tags, 4x6, 2006
New America Talent Exhibition, printed postcards made from imagery on clothing tags, 4x6, 2006
New America Talent Exhibition, printed postcards made from imagery on clothing tags, 4x6, 2006
[2001-2002] Weathered Botanicals is a series of mixed media paintings on wood that focus on a layering process of paint and fabric dye. Painting, sanding, submerging in dye and bleaching are technique used to create a weathered patina. I printed leaves directly into wet paint, then sanded, dyed and layered the compositions. I was interested in partnering with processes that mimicked nature to make paintings about nature.
Shaded & Clear, CIRCA Gallery, Minneapolis, MN, Oct. 18-Nov. 29, 2002
Chances of Rain, North Gallery, Buddy Holly Center, Lubbock, TX, Feb. 20-Mar. 16, 2002
Chances of Rain, Delta College Galleria, University Center, MI, Jan. 21-Mar. 10, 2002
Weathered Botanical, Coleman Gallery Contemporary Art, Albuquerque, NM, Oct. 4-27, 2001
latex paint, fabric dye on wood, 10x10, 2001-2006
latex paint and fabric dye on wood, 10x10, 2001-2006
latex paint and fabric dye on wood, 25x25, 2001-2006
latex paint and fabric dye on wood, 10x10, 2001-2006
latex paint, fabric dye on one hundred wood blocks, each approximately 4x4x2, 2001-2006
detail
latex paint and fabric dye on wood, 4x4, 2001-2006
latex paint and fabric dye on wood, 4x4, 2001-2006
latex paint and fabric dye on wood, 4x4, 2001-2006
latex paint and fabric dye on wood, 4x4, 2001-2006
latex paint and fabric dye on wood, 4x4, 2001-2006
latex paint and fabric dye on wood, 4x4, 2001-2006
latex paint and fabric dye on wood, 4x4, 2001-2006
latex paint and fabric dye on wood, 4x4, 2001-2006