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“Stitching Together Stories and Emotions: The Journey Through Textures and Threads” Interview

October 15, 2024 By Debra Disman

Stitching Together Stories and Emotions: The Journey Through Textures and Threads
My interview with the Bridge Arts Foundation in conjunction with the exhibition, “Soliloquy”
Jul 28, 2024
Written By Tia Xu

Initiated and organized by The Bridge Arts Foundation, the ‘SOLILOQUY’ Open Call Exhibition is currently being held at The Scholart Selection Gallery in San Gabriel, California, and will run until August 17th, 2024.

Bridge Arts Foundation’s Art Director, Tia Xu, engaged in a conversation about the exhibition and art with several artists participating in this exhibition. In this interview, we have the pleasure of speaking with artist Debra Disman.

 —— Q&A ——

Tia Xu: Could you please share your background and what inspired you to pursue a career in art?

Debra Disman: I have always created both visual and literary art, as it used to be called! Art and writing, image and text; my twin and intersection loves and passions: I have employed the written word in my work over time.

 I majored in painting and minored in literature and creative writing, participating in the renowned Iowa Writers Workshop in Poetry at the University of Iowa. A year of study in Southern France sparked a love of travel and exploring other cultures that continues to expand and inform my work.

 I have worked as a teaching, community, public and social practice artist all of my career, starting with volunteering with various organizations and communities in high school and college, then working over many years with museums, community organizations and educational institutions through grants, fellowships, residencies, visiting artist situations and as an employee and staff member teaching bookmaking and many forms of two and three-dimensional art and elements of art history.

Photo: André Smit.

 I created and conducted the grant-funded book and story writing program “The Art of Storymaking” through the San Francisco Public Library for five years, and have presented and taught the “We Write the Book” project at the Los Angeles Public Library supported by the LA Department of Cultural Affairs since 2017.  For fifteen years I owned and operated ArtiFactory Studio as a sole proprietor, offering decorative painting, surface design, murals and color consultation to a wide assortment of clients, and learned much about business, entrepreneurship, management and networking that has held me in good stead in all further endeavors!

I have continued my education through certificate programs and groups in the Bay Area and Los Angeles, and am a devoted local artist in residence at 18th Street Art Center serving on the Community Council, and a proud member of The Guild of Book Workers (serving as board secretary), Textile Arts LA and the Surface Design Association.

Although my work has focused on the form of the book since about 2016, it has reached into textiles, sculpture, installation and even performance! I continue to integrate words and text into my textiles, fiber works, hanging and handmade books, and look forward to where this work will take me. I hope to offer the viewer and participant moments of solace, rest, contemplation and questioning through my work in all forms as we all move through this very tempestuous time in our world.

Debra Disman, “I Can’t I Won’t I Will I Do”, 2022, Repurposed cotton table runner, acrylic paint, hemp cord, 13 x 71.50 in (33.02 x 181.61 cm). Photo: Elon Schoenholz.

Tia Xu: What does “SOLILOQUY” mean to you, and how does your artwork explore this theme? Can you tell us the story behind your artwork from the exhibition?

Debra Disman: The term “SOLILOQUY” refers to the act of speaking one’s thoughts aloud to oneself, alone, or regardless of any listeners.  Yet, to me, the very act of speaking out loud implies a desire to be listened to, heard, understood, perhaps even to have one’s words, thoughts and ideas embraced. As the writer Siri Hustvedt stated eloquently; “Art is always made for the other, the one who will look, and listen.” (paraphrase). We want to be seen, heard, understood, loved and embraced, and we reach out for this, even if we think we are speaking only to ourselves, or that we want only to speak to ourselves. I feel our work and our words are always, on some level, directed to others in a plea for care, receptivity, acceptance and understanding, otherwise why speak or express at all?

My work, “I Can’t I Won’t I Will I Do” is both a textural, and a textual tapestry, a “tactile textile” as the artist Annie Albers would put it. Through its words, textures/layers, tangled threads and monochromatic white on white coloration, it expresses the effort, energy, commitment, drive and will that is required to bring ideas to life through the creative act, and our initial resistance to this process which must be overcome.

We have to push through this resistance to achieve our vision. It is a journey from resistance and refusal to acceptance and realization, achieved only through maximum effort in working though each step, often in the dark! The stitched text and tangled threads run the length of the piece, depicting the commitment that is necessary to light the creative journey, which is often a long haul.

Photo: Gene Ogami.

Tia Xu: What materials and techniques do you prefer to use in your art, and could you explain your choices?

Debra Disman: Since about 2016 I have focused primarily on cloth, paper, thread, and cord. I also employ acrylic paint, and use pH neutral PVA/glue designed for bookbinding, even when I am working with textiles, cloth and fiber, as I have been doing increasingly over the last few years. I employ the materiality of fiber to engage the senses and invite altered ways of experiencing the world and our place in it, both soothing and confounding the eye with uneven visual repetition. Through this means of stabilizing and destabilizing, I hope to instigate fundamental questions that encourage an examination of what we think we know and are.

Devoted to material labor and the inherent substance, sensibility and tactility of the handmade, I love nothing more than to be immersed in material manipulation, which inevitably yields some kind of distilled meaning. The evocative, visceral and profoundly physical quality of materials drives my work, permeating and charging it with emotional resonance. I am compelled to bundle, braid and bunch, tangle, twine, twist and tie, layer, loop, wrap, wind, stitch, sew, knot and glue, as well as paint, draw and write, intuitively developing, complicating and disrupting the surface to add levels of meaning.

Often, the meaning becomes clear during or after this process rather than as a directive beforehand, as if it had been there all along, and simply surfaced during the act of making.

Tia Xu: Are there any artists or art movements that have had a significant influence on your work? If so, why?

Debra Disman: I have been working with the artists Eva Hesse and Charlotte Salomon (who is becoming more widely known) for many years, finding the concurrencies between them in terms of their lives and experiences that led each to create hitherto unknown groundbreaking art. I was fortunate enough to receive a Santa Monica Artist Project Fellowship 2021, which allowed me to research their lives and work more deeply. In 2022-23 ReflectSpace Gallery worked with me to transform a unique book I had made about Salomon and Hesse into one that could be duplicated and published, which they did in conjunction with my solo show there in 2023, a great honor and gift.

Photo: Gene Ogami.

Other artists I am influenced by and passionate about include the English Painter Celia Paul, The Canadian Artist Agnes Martin, The French-born artist Louise Bourgeois, and the American artist Liza Lou. I also love many others including Lee Krasner, Jasper John, Robert Rauschenberg and Judith Scott.

I am drawn to artists who engage with intense materiality, and fascinated by those who break new ground and seem to invent something new such as Hesse with her use of latex and fiberglass and unusual, emotionally evocative combinations of materials; Salomon with her inventive integration of text, image and music; Lou’s use of beads in aggregation and engagement with labor, and what she terms, the “marathon of making”; Martin’s use of seriality, repetition, layering and almost sacred touch with materials; Krasner’s gesture, color and paint handling; Judith Scott’s incredible “wrappings” and use of thread, cord and string; Rauschenberg’s fantastic and telling material combinations; and John’s gravitas, strange break-ups of the body, investigation of reality, and again, material layering.

Tia Xu: Can you describe a challenging moment or obstacle you’ve encountered during your artistic journey and how you successfully overcame it?

Debra Disman: In 2012 my husband and I moved from the San Francisco Bay Area, where we had been for decades. We started over almost completely from scratch, though he had a contract job. I left my business of 15 years, and began teaching and building a social and studio practice. The way that I did it was step by step, working through each roadblock in an almost methodical manner, whether it be making an appointment to meet with someone, or working through a municipal bureaucracy! As I worked through each thing, I gained confidence in new area, discovered and developed more skill, met challenges and overcame obstacles.  I had great excitement about the move, and was really ready for it, so that helped! I also focused on my teaching as a way to get established, procure gigs, jobs and project and contribute financially to our household, and did not put the pressure on myself to create art to sell. I wanted to be completely free in the studio to discover my own path and what came next, and step by step was able to achieve that and carve out a unique niche for myself in the panoramic LA Art scene, while learning, growing and meeting incredible people along the way!

Photo: Gene Ogami.

Tia Xu: Are there any other series that you are currently working on? Would you mind sharing them with us?

Debra Disman: I am working on a three-panel work which can be presented in full that I am creating solely by gluing primarily hemp and cotton cord in related colors to large strips of hemp cloth which hang against the wall like unfurled vertical flags or scrolls. I like to work in threes, it is a satisfying yet odd number, both balanced and asymmetrical.

I am also trying to complete a large stitched work done on a green plastic landscaping tarp, and have two other bodies of work that I would like to start in series, one a white-on-white series of minimalist wall pieces that engage plaster, cloth and cord, and the other an experimental series wood pieces wrapped in cord, thread and string, inspired by the artist Judith Scott.

Photo: Gene Ogami.

As well, I would like to begin series of larger-scale blue-toned drawings. I have been working on the blue-toned drawings in sketch books on a small scale for several years, and would like to go bigger with them. These are different than much of my other current work, as they are not completely non-figurative as are my current book works, hangings, sculptures and installations; the blue drawings engage abstracted figures and landscapes in a range of blue hues and tones and I would like to see where they go, and if they can even translate to something bigger.

Will there ever be enough time to realize all these ideas? Well, Time and Life, will tell.

Tia Xu: Can you share a particular piece of feedback or a comment from an art critic, art professional, or even the audience that has profoundly impacted you?

Debra Disman: There have been many, but Juri Koll, founder of VICA /Venice Institute of Contemporary Art said: It was exciting that he “got” my love of and connection to “labor”.

“We approach the work not as a book, which has always been an integral part of Disman’s work, but as a sculpture. One takes note of the focus and care these works require, and subsequently the labor appears as a part of the story.” — Juri Koll

The Bridge Arts Foundation’s “SOLILOQUY”  Exhibition Installation View, Photo: ©The Bridge Arts Foundation / Luna Hao

The “SOLILOQUY” Open Call Exhibition thoughtfully selected 18 talented artists from over 500 submissions, employing a selection process that involves art professionals. “SOLILOQUY” ran from from July 13th to August 17th, 2024.

ABOUT ARTIST


Photo: Gene Ogami

Debra Disman

Lives and Works in Los Angeles, California

“I am a Los Angeles-based artist known for my work inspired by the book, both as a solo practitioner and in the public sphere of community engagement. As a maker, teaching artist, researcher and writer I creates work and projects which investigate states of being and connectiveness through intensive engagement with materials, while attempting to fully explore and exploit their haptic properties.

A passionate social practice artist, I was the featured artist for the Big Read in LA in 2016 and the recipient of an inaugural WORD: Artist Grant / Bruce Geller Memorial Prize to create “The Sheltering Book”, a life-sized book structure designed as a catalyst for community creativity. I have been commissioned by LA’s Craft Contemporary Museum to create an interactive book for the 2017 exhibition, “Chapters: Book Arts in Southern California” and by 18th Street Arts Center to create the artists’ book, “Unfolding Possibilities” in 2021 in collaboration with the community at-large.”

Filed Under: Exhibitions, Presentations, TEXTILE/FIBER, Work Tagged With: Antonio Kim, CA, Charles Christopher Hill, Christopher Lloyd Tucker, Deanna Dorangrichia, Debra Disman, Exhibition, Group Show, Hwichan Ko, Isabella Riboni, Isabella Ronchetti, Janice Nakashima, Juried Show, Kai Mao, Lanyi Gao, Los Angeles Contemporary Art, Michele Benzamin-Miki, Ming Chen, Rosie Kim, Ryan Bautista, San Gabriel, San Gabriel Mission district, Shanguo Jia, Soliloquy, Somaya Etemad, Steve Gavenas, The Bridge Arts Foundation, The Scholoart Selection, Tia Xu, Vionna Lam, Xiaoxiao Wu, Xin Song

INTERPLAY of Texture, Color, Form and Materials

July 29, 2024 By Debra Disman

INTERPLAY, the Surface Design Association exhibition at the The Dairy Barn Arts Center’s O’Bleness Gallery

I am thrilled to participate in INTERPLAY, organized by the SDA!
(The awesome Surface Design Association!)
Presented at the The Dairy Barn Arts Center’s O’Bleness Gallery
8000 Dairy Lane
Athens, OH 45701
June 28 – September 5, 2024
Opening Reception:
June 28, 6 – 8PM
I am showing:
“Rent Wound Tear, Mend Heal Repair”
64 x 68 x .5″, (variable), canvas, paint, hemp cord, string, lace

SEE THE SHOW HERE!

Interplay presents works that explore parallels, synergies, or tensions between two or more ideas. Artworks may examine connections between seemingly unrelated concepts, map relationships between maker and materials, or reflect interactions between maker and tools. Works employ traditional, interdisciplinary, or collaborative methodologies.

Honoring the diverse range of approaches within fiber art and highlighting the rich tapestry of multicultural links, Interplay looks toward a future informed by the past, bringing together ideas for fresh reflection, reinterpretation, and deeper understanding.

Juror:
Due to her inimitable curiosity, Annet Couwenberg has pursued the ongoing conversations between traditional textile production and digital technologies throughout her art and teaching career. Couwenberg’s art, informed by her early work in the fashion industry, is diverse and includes sculptural forms and jacquard weavings as well as work with fish fossils and skeletons inspired by her study with a fish scientist as a Smithsonian Artist Research Fellow at the National Museum of Natural History. Couwenberg’s interdisciplinary work has demonstrated her capacity to create new realms. As a researcher of both traditional textiles and emerging techniques, she embraces a multi-directional knowledge exchange between new and established, creating art that visualizes methodologies to protect and preserve traditional practices while also expanding upon them. Born in The Netherlands, Couwenberg moved to the United States to receive MFA degrees at Syracuse University and Cranbrook Academy of Art. She has worked internationally, including in Korea, Turkey, Germany, Italy, Portugal, Poland, and The Netherlands.

Mark your calendars for Wednesday, July 31, 2PM ET for the Interplay Textile Talk and be on the lookout for our online gallery –  links coming soon!

SEE THE SHOW
LISTEN TO AND VEIW THE Interplay: Limitless Connection TEXTILE TALK

Interplay: Limitless Connections
Surface Design Association

THIS TEXTILE TALK

Join us as we celebrate three exhibitions highlighting the very best contemporary fiber art. We’ll hear from Interplay award winners Lyndsi Schuesler and Ji Young Kim, along with exhibition juror Annet Couwenberg. Interplay honors the diverse range of approaches within fiber art and looks toward a future informed by the past while bringing together ideas for fresh reflection, reinterpretation, and deeper understanding. Held in conjunction with Interplay, Echoes: A Solo Exhibition by Rena Wood pays tribute to textile histories and past makers. Rena will give us an inside look into the ways she imagines repetitive hand work and its connection to time. Moderated by Nora McGinnis, Interplay: Limitless Connections features artists who encourage us to think in new ways while also honoring tradition.

 

Filed Under: ARTISTS, Exhibitions, Presentations, TEXTILE/FIBER, Work Tagged With: Annet Couwenberg, Collaboration, collaborative methodologies, Contemporary Art works, Dairy Barn Arts Center, Fiber Arts, Fiber At works, interdisciplinary, Interplay, Ji Young Kim, Limitless Connections, Lyndsi Schuesler, multicultural links, O’Bleness Gallery, parallels, SDA, Surface Design Association, synergies, tensions, Textile Arts, Textile Talk, Textiles, The Dairy Barn Arts Center’s O’Bleness Gallery

Showing (love) Around

July 9, 2024 By Debra Disman


We Are Doing It All Wrong, Edward A. Dixon Gallery, Dayton, OH, Juror/Curator: Ed Dixon:   “The exhibition is a challenge to artists and viewers to recognize, react and learn about the many ways humanity continually fails itself.  These issues are not always mainstream and sometimes are hidden.” Jurors: Ed Dixon/Stacy Kranitz/Judith L. Huacuja
See the SHOW!
See the VIDEO!

It is not only a joy to “show around” in group exhibitions at various venues around the country, it is a gratifying, enriching  experience,  and a heartwarming one at that, to discover, interact with and support so many inspiring and dedicated individuals,  organizations, endeavors, missions and visions. I meet new folks, but also “run into” friends and colleagues that “show up” in some of the same places: showing at some of the the same shows, sharing in some of the same artist talks and panels, featured in some of the same catalogues and publications. It is exciting to connect, and see both not only an overlap of interests materially and thematically, but also how we all approach things differently, and can learn from one another.

For example, I am currently showing at:
Word and Weft: Visualizing the Word, Webster Arts, Webster Groves, MO, Juror: Noriko Yuasa 

Women. Defining Our Representation, Black House Artist, Juror/Curator: Ellen Mattesi (online)  
We Are Doing It All Wrong, Edward A. Dixon Gallery, Dayton, OH, Jurors: Ed Dixon/Stacy Kranitz/Judith L. Huacuja 
Evidence of Joy, Intersect Arts Center, Saint Louis, MO, Curator: April Parvitz  

Soliloquy, presented by The Bridge Arts Foundation at The Scholarts Selection, San Gabriel, CA
Jurors: Charles Christopher Hill, Xin Song, Curator: Tia Xu  
Whisper, Verum Ultimum Gallery, Portland, OR, Curator: Jennifer Gullia Cutshall  (catalogue)
Interplay, presented by the Surface Design Association at The Dairy Barn Arts Center O’Bleness Gallery, Athens, OH,  Juror: Annet Couwenberg
Northern National Art Competition, Nicolet College Art Gallery, Rhinelander, WI, Juror: Debra Brehmer 

The Circular Ritual of Spring, BG Gallery, Santa Monica, CA, Curator: Susan Lizotte (online)

And earlier this year:
Midway Marvels,ArtBarLA, Los Angeles, CA, Curator: Randi Matushevitz
Materiality Matters, Umpqua Valley Arts, Roseville, OR, Juror Panel: UVA Staff and Pacific NW professionals
Pulp: Book and Paper Arts, Sebastopol Center for the Arts, Sebastopol, CA, Juror: Donna Seager
Fantastic Fibers 2024, Yeiser Art Center, Paducah, KY, Juror: Sandro Tiberi, (catalogue) 
String Theory, The Cultural Center of Cape Cod, South Yarmouth, MA, Curator: Molly Demeulenaere  
Art of the Word, Sasse Museum of Art, Pomona, CA, Jurors: Fatemeh Burnes, Maurice Quillinan, Niamh Cunningham (catalogue)
By the Book,  Artopia Gallery, Arcadia, CA, Curator: Rosie Getz

Through this experience I am able to be exposed to and interact with :
Individuals: artists, curators, critics, collectors, gallery, museum, art center, library and academic/university directors/staff (on all different levels of responsibility and experience and in varying roles,  offices and positions)
Organizations: galleries, museums, art centers, universities/academic institutions, artist studios and alternative spaces (of different sizes, renown, reputation, influence and “status” in the “art world” and world at-large)

I plan to highlight and share about various of these individuals and entities over the next several posts. I will share particularly about Art Centers, which are an enormous source of vitality, creation, care and joy throughout the country and beyond. xxxooo

I begin with Gallerist Ed Dixon, in whose show We Are Doing It All Wrong I am honored to be in.  Presented at the Edward A. Dixon Galleryin Dayton, OH. Of the show says Owner/Curator: Ed Dixon:  “The exhibition is a challenge to artists and viewers to recognize, react and learn about the many ways humanity continually fails itself.  These issues are not always mainstream and sometimes are hidden.” The illustrious jurors Ed Dixon/Stacy Kranitz/Judith L. Huacuja hold a wealth of knowledge, expertise, care and passion among them in addition to many accomplishments.

In a time of such fraught difference, fear, and loathing, it is heartening and illuminating to see and be a part of all of these individuals and entities, making a difference. I have to feel that that all of our work, no matter what the outcome, does make a difference.

Thank you to You all.

 

 

 

Filed Under: ARTISTS, Exhibitions, MEDIA, New Work, Presentations, TEXTILE/FIBER, Women Artists, Work Tagged With: 18th Street Arts Center, American exhibitions, American shows, Annet Couwenberg, April Parvitz, art centers, Art of the Word, art vwnuwa, ArtBarLA, Artopia Gallery, bG Gallery, Black House Artist, Bridge Arts Foundation, Cape Cod Museum of Art, Charles Christopher Hill, Christopher Lloyd Tucker, Contemporary Art, Contemporary Artists, Craft Contemporary, curators, Debra Brehmer, Donna Seager, Ed Dixon, Edward A. Dixon Gallery, Ellen Mattesi, Exhbitions, exhibiting in the US, Fatemeh Burnes, galleries, Group Shows, Intersect Arts, January Arts, Jennifer Gillia Cutshall, Judith L. Huacuja, Juried Shows, jurists, Karina Bennett, libraries, Maurice Quillinan, Molly Demeulenaere, museums, Niamh Cunningham, Nicolet College Art Gallery, Noriko Yuasa, Randi Matushevitz, Rosie Getz, Sandro Tiberi, Sasse Museum of Art, Scholorarts Selection, SDA, Sebastopol Center for the Arts, Shoebox Arts, Shoebox Projects, Shows, Stacy Kranitz, Surface Design Association, Susan Lizotte., The Brand Library and Art Center, The Cultural Center of Cape Cod, The Dairy Barn Arts Center O’Bleness Gallery, The Irvine Fine Arts Center, The Long Beach Museum of Art, The New Bedford Museum of Art, The Yeiser Art Center, Tia Xu, UCLA, Umpqua Valley Arts, universities, Verum Ultimum Gallery, Webster Arts, Xin Song

In Reflection: “Three Sisters And Their Mother” and more

February 5, 2024 By Debra Disman

I was thrilled to have a solo exhibition last winter at ReflectSpace Gallery, part of Glendale Arts and Culture, in the Glendale Central Library which opened Saturday January 28th and was on view through March 19,2023.
The show, a dream come true that I did not even know I  had, was curated by the wonderful Ara and Anahid Oshagan of The City of Glendale and founders of the gallery..

I was fortunate to have master photographer Gene Ogami document the show.

I share here two images featuring a work entitled, “Three Sisters And Their Mother”, which  engages a concept and presentation I am still exploring.

“Three Sisters and Their Mother” (2022),  made of canvas, acrylic paint, hemp cord, sunlight and gravity, is approximately 30” x 72”. Its dimensions are variable depending on how it is installed, the intervals of space between the components or sections, the way its ever-tangling cord/string wanders across each section, how high or low to the ceiling or the floor it is positioned, and how much in relief from the wall it is hung. As Eva Hesse once said about a work or works of hers… Can it be different every time…? (paraphrase). Naomi Spector writes beautifully about these ideas as regards to Hesse’s work.

Also pictured are: (below and clockwise from “Three Sisters And Their Mother”)
“I Can’t I Won’t I Will I Do”, (The titular work in the show), 2022,13 x 71.5”, repurposed table runner, acrylic paint, linen thread
“Finally”, (can hang on wall in slight relief), 2022, 48 x 19.5”, canvas, lace, hemp cord, sewing thread
“Excavation of the Interior”, 2021, 12″ x 28″ x 12.5″, wood, mulberry paper, canvas, muslin, watercolor paper, hemp cord, linen thread
Our human connections, gossamer though they may seem, form a tangled web that is always changing, and in some ways unfathomable, but there and always mysterious.

 

Filed Under: Exhibitions, New Work, Presentations, TEXTILE/FIBER, Work Tagged With: "Excavation of the Interior", "Finally", "I Can't I Won't I Will I Do", "Tree Sisters and Thier Monther", abstract, abstraction, Anahid Oshagan, Ara Oshagan, Book Festival, BOOK WORKS, Bookmakiing Workshops, Books, City of Glendale, Cord, Curators Ara Oshagan and  Anahid Oshagan, Director of Glendale Library Arts and Culture Gary Shaffer, Eva Hesse, Fiber, Fiber Art, Frida Cano, Gene Ogami, Glendale Arts and Culture, Glendale Central Library, Glendale Library Arts and Culture, Glendale Mayor Ardy Kassakhian, Handmade Books, Hangings, Jennifer Remenchick, Laurey Bennett-Levy, Mark Henry Samuel, Michelle Robinson, Naomi Spector, Rebecca Youseff, RefectSpaceGallery, Senator Anthony L. Portantino, series, Solo Exhibition, Solo Show, Stacie B. London, String, Suzanne Voss, Tapestry, Textile, Textile Art, Textiles, triptych

(not so) WHITE WEDDING

January 18, 2024 By Debra Disman

Studio spotlight on:
WHITE WEDDING
 2023
15 x 21.5 x 10.75″,
materials: book board, canvas, muslin, watercolor paper, hemp cord, string, linen thread

What does the term  “white wedding” mean to YOU?

Filed Under: Artists' Books, BOOKS, Work Tagged With: Artist Book, Book, Conceptual, Conceptual artist books, Conceptual Book, Contemporary Artist, Contemporary Los Angeles Artist, Fiber, Handmade Book, Sculptural Book, Sculpture, Sewing, Stitiching, Textile, White Wedding

“Contemplating Boundaries” at the Korean Culture Center with Launch LA

August 2, 2023 By Debra Disman

I am thrilled to be a part of “Contemplating Boundaries”, a group exhibition presented at the Korean Culture Center of Los Angeles in conjunction with Launch LA, a Los Angeles Institution and brainchild of James Panozzo.

JULY 27 – AUGUST 18, 2023

Boundaries exist in all cultures-often as social constructs serving to regulate our actions, norms, taboos, and space. They may be codified laws, common societal traditions, or even self-imposed rules. 

“Contemplating Boundaries” brings together artists from across Southern California whose practices contemplate and reflect barriers, labels and limits- whatever their origin or purpose. These artists and their works- define our times, providing an authentic lens to view contemporary culture.

JURORS

TeaYoun Kim-Kassor (Professor, Department Chair, Otis College of Art and Design)  TeaYoun Kim-Kassor (Phonetically, TaeYun: “Tea” as in “Taylor” & “Youn” as in “Sun”) is originally from South Korea and has a varied background in education; she received academic degrees in S. Korea, Japan, and the U.S.  As an artist, educator, and cultural ambassador, she has been developing her artistic path, teaching pedagogy, leadership, and management skills to embark on transnational education and emphasize the importance of understanding global perspectives. She is currently a Professor and Department Chair of the Foundation Program at Otis College of Art and Design in Los Angeles, CA.

Mika Cho (Professor, ART/Director, Cal State LA Fine Arts Gallery) Dr. Mika Cho was appointed as Special Assistant to the President for Arts and the director of the Cal State LA Fine Arts Gallery in 2017. Prior to her appointment as the director of the Fine Arts Gallery she served as the chair of the Art Department. She is art educator, researcher, educational consultant, curator and visual artist, the last comprising numerous exhibitions at museums and galleries. Her research interests are in art-related and educational issues, which she shares through publications and extensive conference presentations nationally and internationally.


I am showing:

“Profusion”, 8.75″ x 24.5″ x 7.75″, book board, mulberry paper, paint, canvas, watercolor paper, hemp cord

and


“The Gates”, 7.5″ x 20″ x 10.25″, book board, canvas, cheese cloth, jute cord, string

Filed Under: ARTISTS, Artists' Books, BOOKS, Exhibitions, TEXTILE/FIBER, Women Artists, Work Tagged With: Antonio Kim, Artist Debra Disman, Carlo Marcucci, Cindy RInne, CONTEMPLATING BOUNDARIES, Dan Monteavaro, Danielle Eubank, Deborah Lynn Irmas, Debra Disman, Elizabeth Tinglof, Eric Almanza, EunKyoung Beak, Group Exhibition, Group Exhibitions, James Panozzo, Jim Zver, John Koller, Joo Kyoung Park-Kwon, Julia Wolinsky, Julie Lipa, Juried Show, Karin Skiba, Kerrie Smith, Keun S. Lee, Korean Cultural Center, Kyong Boon oh, Launch LA, Leah Knecht, Lorraine Bubar, Lyle Everett Rushing, Michele Benzamin-Miki, Michelle Emami, Mika Cho, nancy Ivanhoe, Nancy Kay Turner, Nurit Avesar, Open Call, TeaYoun Kim-Kassor, Viktoria Romanova

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