I am excited to announce that I will be starting a two-year residency at RedLine starting this September! RedLine offers studio space and a plethora of community outreach and engagement. Looking forward!
8.1.16
I have an upcoming two-person show at Art Gym titled, Creases and Covers. The show opens Thursday, August 4th and runs through Saturday, August 20th. Gallery hours are Tuesday-Saturday from 9am-6pm. I will be showing new large tiled panel, tulipieres, and painted carpets.
3.8.16
Mock Pavilion, my exhibition with Black Cube, is up and running at Sala Diaz in San Antonio, TX. I've also added images from the exhibit, check it out!
3.1.16
NCECA in Kansas City is coming up quick. I will have work in 4 exhibitions, Now & Then the CU Boulder Alumni Show at The Kansas City Museum, The National Student Juried Exhibition at Leedy Volkous Art Center, Alumni Gathering at Red Star Studios, and a Pop-up exhibit at Cerbera Gallery.
1.28.16
From Black Cube: Announcing Our 2016 Artist Fellows
Molly Berger – Denver, Colorado
Jon P. Geiger – Detroit, Michigan
Stephanie Kantor – Denver, Colorado
Jennifer Ling Datchuk – San Antonio, Texas
SANGREE – Mexico City, Mexico
Eric Stewart – Boulder, Colorado
1.16.16
I will be participating in AMASS: Design After Dark, a fundraiser for the Denver Art Museum's Department of Architecture, Design, and Graphics. Tickets are available of their website, above link. The event is on Friday, February 5th, 2016 and I'll be showing next to Jeanne Quinn and Blanca Guerra.
12.4.15
I will be a part of the Jensdotter first holiday art auction along with some other great artists.
11.20.15
Curatorial statement by Kim Dickey
MFA Thesis exhibition, November 6th, 2015
Questions around identity, familiar relations, and cultural, religious or political inheritance inform the work we do throughout our lives. Yet it is often in graduate school, behind the closed doors of studios, unwatched, where we first focus our attentions on these influences, examine their importance, and construct our response by what we do. These six artists have done just that. Their works intimately examine these universal questions in poetic and dream-like ways. Uncanny installations of domestic environments, family traditions re-imagined, emblems of childhood stories, and symbols of a future filled with health and reconciliation are offered to the viewer in these exhibitions. We are moved by their honesty, vulnerability, and intensity. The richly imagined worlds we enter offer unfolding dramas of lives just now being fully and independently lived. Despite the separate presentations of these works in three different venues, threads of connection exist among them.
At BMoCA, Stephanie Kantor, Emily Bayless, and Chris Blume present works in which the objects act as characters for ongoing family traditions newly imagined, as in the exotic and faraway landscapes evoked by Kantor’s Money Wash stations, one of several ceramic vessel and tapestry environments influenced as much from peculiar family rituals as from her travels to the Far East. Or in Emily Bayless’ precariously stacked dishes in a double sink sitting upon a pool of turquoise felt, the tension and struggle within domestic partnerships is played out in a surreal display of private negotiations made public. Chris Blume’s triptych print series The Aesthetics of Pent and an independent future, mirroring the lives each one of these artists will undoubtedly enjoy.rophecy applies the leveling device of the plumb bob to the forms of plant, machine and man in embellished lithographs that evoke an obscure evolution of form at once dark and hopeful. Lost personal histories and obsolete tools offer these artists the freedom to reconstruct the world anew.
Sam Cikauskas and Judd Schiffman address the walls of Jensdotter space as pages in a personal story of struggle for understanding and reclamation over one’s health and heritage. Cikauskas’s woodcut sculptures of intestines and stomachs are enveloped in the visual and healing properties of plants in the repeated color prints of flowering chamomile, peppermint and fennel that surround them, suggesting a harmonious relation between the inside world and the outside. While Schiffman’s emblematic and wonderfully specific ceramic wall reliefs stand in for stories that blend Judaic and American cultural icons into deeply felt, humorous examinations of identity from the perspective of an adolescent boy through the voice of his paternal grandmother.
