more recent exhibitions
Transformer 11th Annual Silent Auction & Benefit
American University Katzen Arts Center, Washington, DC
In exhibition: “Highland Mogul I” from the Highland Relief Sculpture series of encaustic works.
Combat Paper: Word Made Flesh
Allegheny College, Meadville, PA
“ View from the Inside” made in the Carta Pesta technique using Combat Paper Project papers.
additional info: here
The Art of Jazz
Invitational exhibition, Delta Center for the Arts, LH Horton Jr. Gallery, San Joaquin Delta College, Stockton, CA
VARIATIONS on the Dialectic between Mingus and Pithecanthropus erectus is my piece in this show. Though I’ve often created music‐inspired prints, this is by far the most musical book I’ve ever made. It was conceived and designed entirely while listening to the composition “Pithecanthropus erectus” by Charles Mingus. The original text in this book is written by paleoanthropologist Rick Potts, who was thus my collaborator in the project. His words flow throughout my woodcuts; these were printed by Terrence Chouinard on my pulp‐painted, watermarked handmade paper. There is a continuum of images running across the recto and verso of the book, so you never truly start or finish. The book, as does the music, explores Mingus’ view of the ascent and descent of the dominant species.
Dichotomies: 9 artists explore Pulp and Paper
Convivium 33 Gallery, Cleveland, OH
“Wall from the Wall” is my installation in this show. It is composed of 18 segments that I made during a residency at Dieu Donne Papermill in NYC. I had brought to New York some urethane relief molds I had made in my studio, and then at Dieu Donne pulp painted and cast the paper in those molds. Each segment is about 20”x25” with pulp painting creating the patina. At “Dichotomies” they were installed in two sections of 9 panels, facing each other in the gallery. The goal for this piece is for the viewer to be enveloped in an underground place of great beauty, history and process, reflecting the physical reality of the walls of a cave. The works in the “Dichotomies” show are all made by my pulp painting gang based around the US—“Pulparazzi.”
De La Tierra: Los Libros de Lynn Sures
Curated by Edgar Olvera Yerena
Academia de San Carlos Gallery Escuela Nacional de Artes Plásticas, Universidad Nacional Autónoma de México / National School of Plastic Arts of the National Autonomous University of Mexico (UNAM), Mexico City, Mexico
7 Hours in a Cave is featured on the flyer/poster for this exhibition. It is a 7‐page sculptural book of pulp painted handmade paper reliefs, additionally painted with encaustic and acrylic. The work is suspended, so that the recto—reliefs of stalactites; and the verso—heavy encaustic references to the flow of mineral waters in caves, are viewed according to the happenstance of the gallery’s air drafts. I have spent some time drawing in caves, and recent pieces often reference the thrill and insights that come of this rare experience. Other works in the show all involve the earth in ways ranging from the passage of time to one’s presence in a single geographic place, or within a geologic era.
Invitational exhibition curated by Renato Miracco, Italian Embassy, Washington, D.C.
My work in this show is “Wall from the Wall”,* seen in a 12‐element iteration, with three panels in width and four in height. It surrounds its viewer in the textures of the referenced cave wall. Six American artists who use their own handmade paper in their work, plus 7 Italian artists who work with paper, comprise this diverse invitational exhibition.
* “Wall from the Wall” is an installation I made during a residency at Dieu Donne Papermill in NYC. I had brought to New York some urethane relief molds I had made in my studio, and then at Dieu Donne pulp painted and cast the paper in those molds. Each segment is about 20”x25” with pulp painting creating the patina. The goal for this piece is for the viewer to be enveloped in an underground place of great beauty, history and process, reflecting the physical reality of the walls of a cave.
Morgan Conservatory, Cleveland, OH
“Australia/US Painting” is seen installed at this exhibition. It fits the concept of the show—it is colossal in size, measuring around 4 meters in width, 3 meters in height. I began this piece in Tasmania conceiving of it as a way to unite places and cultures which are also colossal—through the use of drawings I had done by the rocky shore of Penobscot Bay in Maine, USA and at Bondi Beach near Sydney, Australia. Those places share elemental light, rock, and water traits while they diverge tremendously in specifics of mood, physical energy, and structure. I was looking to make sense of my exhilaration in Australia through the bridge of this pulp painting. The mark making began there and I let my pleasure in Aboriginal marks seen in Australia follow me back to my studio in Maryland, where the painting was completed.
Siamo Quel Che Mangiamo? Sostenibilita` e arte/
Are We What We Eat? Sustainability and Art
Exhibition of works by Corcoran Fine Art Faculty and Accademia di Brera Visual Arts Faculty, Il Grattacielo Pirelli, Milan, Italy
My steel book, Hungry (ed. 2 of 2) is the piece I chose for this show. I made the forged steel covers of this sculptural book while at Penland School in Penland, NC. Back in my own studio in Maryland I made the paper with a subtle zig-zag pattern pulp-painted in silver, and then with embroidery thread stitched a continual silver miniature zig-zag pattern through every page of the book. The stitched continuum can be construed as an EKG, denoting a beating heart, most always accompanied by being hungry. Along with other members of the Fine Art Faculty of the Corcoran College of Art + Design, in Washington, I participated in this thematic exhibition conceived in partnership with the Accademia di Brera, in Milan.
The Art of Handmade Paper
Curator Simon Blattner,
Publisher, Eastside Editions
Sonoma Valley Art Museum, Sonoma, CA
The pulp painting Highland Painting 4 was chosen for this exhibition. This work, about 47”x 35”, is part of my multi-media series of examinations of the western Scottish Highlands from the vantage point of a moving train. One’s view is dominated by the phenomenon of parallax which sets a perception of fast motion against a backdrop of stability. The ribbon of track carries you by an endlessly altering landscape where everything is seen in changing relation to everything else. I saw the mountains in motion and drew them that way.
Lenguajes en Papel Amate
Curator Samuel Correa
El Centro Cultural Zapata Stunam, Mexico City, Mexico
Stalactites is a bas relief work made with the amate bark-pounding technique, using gampi bark. Looking to create a fragment ripped from its natural setting, I pounded the bark into a plaster mold and worked the strips together in relief instead of in the usual flat format. I have a fixation on the landscape, visible as well as hidden. Papel amate is created from a distinctly natural material. Treated and manipulated by the hand of an artist, it assumes a completely new structure. The adaptability of the bark encourages artistic experimentation, while it also rewards tradition. Amate is not a part of my own cultural tradition, but it is a material I embrace as an artist. The forms found in caves inspire me, and the amate technique roots my work in the earth.