Collage Sale to Fund Stargazer Projects

I’ve got an exciting new publishing/curating project in the works that I hope to launch next year: Stargazer Projects. Stargazer will feature work by some of my favorite artists, many of whom work with text (at least occasionally) and will involve monographs, performances (we can dream about gathering together, right?), installations, and other things that haven’t been imagined yet. Projects will be driven by the artists themselves and regardless of what is produced, every artist will be given a stipend for participating. I’m hoping that the sale of some of my own image/text work will help to get this project off the ground. I would like to raise $2500-6000 with this sale to help fund the first couple of Stargazer projects.

I have several collections of work that I am offering, the first two containing unique, one-of-a-kind, unframed collages offered at $50-500 per collage. Pay what you would like within that range.

The first is work I’ve made during quarantine this year. Though I’ve been making image/text collages for a decade now, until quarantine I restricted myself to just an X-acto knife and scotch tape to make them. For these collages, I’ve also used watercolor, colored pencil, and graphite. So far there are 14 collages in this new group. In the context of my overall practice, I think they are mixed-media drawings more than they are collages. You can see them here:

The second are collages from a 1999 issue of Vogue magazine.
 These are from a quasi-autobiographical body of work made with magazines I remember reading, this collection from the year I was married, 1999. All of these collages contain text except one, “Landscape with the Fall of Icarus,” a tongue-and-cheek conversation with Bruegel’s painting, the “male gaze,” etc., etc.:

I’m also offering a very limited edition (max 16 copies plus one artist’s proof) hardback artist book that will come with one original collage. Price: $150-750, you decide how much in this range.

The books (10 have been printed so far) were printed by Blurb and therefore cost way, way more than they should. They are all signed and personalized/modified. There are 16 collages in the book (along with a short essay) and a total of 16 book/collage sets available. These collages were made between 2017 and 2019 and come from a 1990 issue of Interview Magazine. They are part of that same larger, somewhat autobiographical series of collages that are made from magazines I remember reading. You can view the collages here:

And finally, the complete Moon_Moire, made during quarantine this past summer, offered for $3000-5000, again you can decide how much within this range. This 156-piece collection is a collaboration of sorts with Carsten Nicolai’s Moire Index, his collection of moire patterns published in 2013. I tore the pages from the book and used the pages as substrates for drawings and paintings, each one reacting and playing with the patterns on the page. I began this project on the penumbral eclipse, July 4, 2020, and finished it the day after the new moon on August 18. Rather appropriate for a book about moons and perception. You can see the entire book here:

If you are interested in any of this work, please let me know your first couple of picks (in case your favorite is unavailable) and we can work out the payment/shipping details (PayPal, Venmo, check, etc). The collages are identified by the first line of text, but you can also just describe them to me. If buying art at any price is out of reach right now but you would like a piece of art to brighten up this  miserable year, send me your address (or the address of a friend who needs a piece of art) and I will send you a recipe card drawing from my ongoing quarantine recipe/memory card mail art project. Even if you’ve already received one from me, I can send another. Let me know your favorite food group or category (“Men’s Favorites,” “Impromptu Party Fare,” “Dessert Spectaculars,” “Family Breakfast Time,” etc.) if you’d like something extra special.

I’m quite excited about Stargazer Projects and I hope you can support this new venture by buying a collage. If you know someone who might be interested in these collages or in supporting Stargazer, please feel free to forward this page to them. I may also offer a kickstarter of some kind next year to raise additional funds for Stargazer.


T F m
December 4, 2020

Quarantine Projects

I’ve worked on three main projects during our many months of quarantine and they’ve all involved collage and altering existing materials. The first one, which is ongoing, involves Betty Crocker recipe cards. I’ve been turning them into drawings and sending them to friends and friends-of-friends. My impulse throughout quarantine has been to make things to give away. The second project I’ve called “Moon_Moire,” a collaborative project with Carsten Nicolai’s Moire Index, his playful and useful reference book of moire patterns from 2013. I painted on the pages, rubbed graphite into them, scratched and burnished them, and occasionally used scotch tape to make prints of the handmade stencils I used. The book was transformed into a series of 156 pieces. The most recently completed project is a similar collaboration, this time with the pages of Kenneth Grahame’s “Dream Days,” a small collection of children’s stories first published in 1898. This book was added to the pile of raw materials at a collage class I taught at the Camera Obscura Art Lab in Santa Monica during my studio residency there a few years ago. I’d held onto the book and decided to start marking the pages on the new moon in August. Again I used graphite, watercolor, colored pencil, and scotch tape. Some of these pieces have poems on them. There are 154 pieces in this series.

I have also been making collages, felting lladros, and writing the occasional poem. I’ll be adding the new work to my website as I document it.

If you’d like a recipe card, email me your address and I will send you one. If you have a particular food group that you’d like me to choose, send that along too.

T F m
November 19, 2020

Slowly, With Care @ Dominican University, January 29-March 6, 2020

I’m showing an embellished quilt for Agnes Martin (Friendship) and two new felt pieces for Joseph Beuys (a felted lladro and Reliquary for a Future Ritual) with the marvelous work of artists Joanne Aono, Sherri Denault, Holly Holmes, Jeffley Gabriela Molina, and Gwendolyn Zabicki in a show about slowing down curated by artist/curator Karen Azarnia. This will be a beautiful show! Here is the announcement:

Slowly, With Care
O’Connor Art Gallery, Dominican University
Participating Artists:
Joanne Aono, Sherri Denault, Holly Holmes, Kate Ingold, Jeffly Gabriela Molina, Gwendolyn Zabicki
Curated by Karen Azarnia
January 29 – March 6, 2020
Opening reception: Wednesday, January 29, 4 – 7pm, artist talk at 4:30pm

The artists in Slowly, With Care deal with notions of slowness, caregiving and meditation. Empathy and tenderness permeate the work. With attention to craftsmanship achieved through a dedication to meticulous labor, the work is made slowly, by hand, with care. Nostalgia, longing, loss, domestic labor, relationships, motherhood, meditation, and the history of craft are among some of the themes addressed. A range of materials are incorporated, including traditional oil painting, ceramics, sculpture, sewing, and fiber-based installation. Questions this show hopes to raise include how have we arrived at a socio-political moment in which tenderness has become radicalized? How can we collectively develop strategies to slow down, be present, and take time to care for one another?

T F m
January 23, 2020

To Sight’s Limit @ Woodland Pattern Book Center, Milwaukee, December 8, 2019-January 25, 2020

I’m excited to be included in this show of poets who take photographs curated by poet/photographer Joshua Edwards, at Woodland Pattern Book Center in Milwaukee. To Sight’s Limit features the photography of Suzanne Doppelt, Jibade-Khalil Huffman, Emily Hunt, Eileen Myles, Anthony Robinson, Andrew Zawacki, and four of my Highway Dreams’ pieces. Highway Dreams are drawings on original photographs. I print each photograph once then scratch the surface of the photograph with a sewing needle. Opening reception is Saturday, December 8, 2019 and features performances by Joshua Edwards and Jibade-Khalil Huffman.

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December 5, 2019

Cantos Comunes/Common Chants @ 13th Bienal de Habana, April 17, 2019

I was invited by my good friends Cara Megan Lewis and Alejandro Figueredo Díaz-Perera to participate in Cantos Comunes, a day of Fluxus and Fluxus-inspired happenings at the Blockhouse in Havana, Cuba during the 13th Havana Biennial.

The day included performances of known Fluxus scores, including June Nam Paik’s One Violin Solo (performed by Yasmany Guerrero), Alison Knowles’ An Homage to Every Red Thing, and a number of new Fluxus-inspired scores, including works by the performance collaborative Research for the Bermuda Triangle (Regina Mamou and Lara Salmon), two works by Balas and Wax (Susy Bielak and Fred Schmalz), solo works by Alejandro Figueredo Díaz-Perera, Benjamin Del Castillo, Carmina Escobar, and Alberto Aguilar, and my day-long performance, Franz Kafka’s 15-Minute Workout.

Just weeks before I was invited to participate, I’d read about how Kafka had been an adherent to an early 20th-century fitness craze, “My System,” developed by Danish athlete, JP Muller, that consisted of daily calisthenics, a method for proper bathing, and a series of post-bathing skin-rubbing exercises.

Through conversation with Alejandro and Cara, we decided it would be interesting if rather than simply performing Kafka’s 15-minute calisthenic workout, I “performed” my normal day in the house, with adding in my attempt to learn Kafka’s workout, as if I were in my home. I spent the day in the Blockhouse while the other events were happening, doing what I normally do: eating breakfast, washing dishes, meditating, working on art, doing some exercise (in this case, following the instructions in Muller’s book, just as Kafka would have done), and bathing. I stayed present to what was happening around me in the house, but did not engage with it. It was as if I were at a silent meditation retreat — not ignoring anyone around me, but simply being silent. It was as if the house were mine and it was any day of the week. The art that I made was to embroider “Motion is life” and “Save your progress!” on the ends of a red bath towel, a towel that I used throughout the day for the workout and for drying myself after the bath. Muller stresses in his book that “Motion is life,” and it felt appropriate to write that on the towel with silk embroidery thread. After I finished the day, I went into the courtyard of the house and placed the embroidered towel in one of the squares of Knowles’ An Homage to Every Red Thing to complete the piece.

T F m
May 11, 2019

Staged Meaning/Meaning Staged @ USC Fisher Museum of Art, Jan 22 – April 13, 2019

Thesaurus for Ceasing War, three embroidered silk panels with a 12-part poem completed in 2009, is being exhibited in Staged Meaning/Meaning Staged: Landscapes from the the USC Fisher Museum of Art’s permanent collection through mid-April, 2019. Other artists in the exhibition include Jan Brueghel the Elder, Mary Weatherford, and Carlos Almaraz. From the press release:

“To celebrate the 80th anniversary of the Elizabeth Holmes Fisher Gallery at the University of Southern California, Fisher Museum of Art is pleased to present Staged Meaning/Meaning Staged. This exhibition features selections of Old Master and Contemporary landscapes from Fisher’s permanent collection. Through the prism of landscapes, these artworks collectively examine visual and ideological shifts in pictorial meaning.

“Each artwork embodies the aesthetic and pedagogic trends of its original historical context. As an aggregate, the works reflect changing approaches to representing and interpreting art and societal values. Staged Meaning surveys how the Old Master artists in Fisher’s permanent collection utilized landscape imagery to stage meaning prescribed by religion, history, allegory, and nationalist or expansionist ideology. The second part of the exhibition, Meaning Staged, adopts the concept of using landscapes as a vehicle for deriving individualized meaning, removed from the requirements of these historical contexts. Contemporary artists have initiated a shift by endowing the viewer with greater interpretive agency. That is, giving the viewer an opportunity to collaborate with the artist and partake in meaning-making, unburdened by conventions of the past.”

T F m
January 18, 2019

Mending Wall @ Brentwood Art Center, January 23, 2019

Join me for a Master Class (artist talk and interactive performance/workshop) at the Brentwood Art Center, 13031 Montana Ave., Los Angeles, January 23 from 6-8PM. I first staged this installation and collaborative artwork at Mana Contemporary Chicago in 2016. Read more about the Mending Wall Project here.

T F m
January 18, 2019

UNTITLED (House) @ IL State Museum Lockport, Opening Oct. 28, 2018

Incredibly honored to have “Warm Bones (For Agnes Martin)” included in UNTITLED (House), an exhibition of the Diane and Browne Goodwin Family Art Collection at the Illinois State Museum, Lockport Gallery. The quilt is a damaged and discarded worker’s quilt that I’ve inadequately repaired with gold straight stitches. The gold thread is old-new stock from Japan and was once used to make the shimmery gold elements in kimono and obi. It is incredibly delicate and breaks easily, as it’s made of paper with gold leaf pressed on it. The exhibition includes work by wonderful artists and friends, including Joanne Aono, Robert Burnier, and Sherri Denault, and is curated by Lauren Ball, Erik Wenzel, Gwen Zabicki, and Robin Dluzen. Opening reception is October 28, 2-5PM.

T F m
October 24, 2018

Studio/Workshop Residency @ Santa Monica’s Camera Obscura Art Lab

Honored to have a studio residency at Santa Monica’s Camera Obscura Art Lab, April 25-August 1. I’ll be leading image/text collage workshops nearly every week during the residency and will have the studio open to visitors on the days I’m working there. Here’s a nice little q+a the director of the program posted recently:

T F m
April 3, 2018

Altered @ Prairie State College, February 12-March 15, 2018

My work is included in Altered, a four-artist show at Prairie State College’s Christopher Art Gallery curated by Beth Shadur, featuring work by myself and Katsy Johnson, Javier Chavira, and Rose Camastro-Pritchett. I’m showing Last Fisherman and Dark Waters, two image/text pieces from the Dream of Water project and series. If you attend the show, let me know what you think!

T F m
February 2, 2018