• Skip to main content
  • Skip to primary sidebar

Debra Disman

Artist

  • Facebook
  • Instagram
  • LinkedIn
  • Work
  • About
    • CV
    • Media
  • Events
  • Contact
  • Blog

Artists

EXHIBITIONISTA: “I Can’t I Won’t I Will I Do” SOLO SHOW

January 25, 2023 By Debra Disman

 “I Can’t I Won’t I Will I Do”

ReflectSpace presents:
DEBRA DISMAN: I Can’t I Won’t I Will I Do
January 18 – March 19, 2023
Opening Reception: Saturday, January 28th, 6-8pm
Curators: Ara & Anahid Oshagan

ReflectSpace in Glendale, run by  Ara Oshagan, presents new work by artist Debra Disman. Along with the exhibition, ReflectSpace is publishing an artists’ book based on Disman’s 2021-22 Santa Monica Artist Fellowship project, investigating linking and responding to the groundbreaking work of artist Charlotte Salomon and Eva Hesse which will be available at the opening. For more information, please visit HERE.

 

Tagged With: Anahid Oshagan, Ara Oshagan, Artists, Book Festival, Bookmakiing Workshops, Books, Charlotte Salomon, Eva Hesse, Fiber, Glendale Arts and Culture, Glendale Central Library, Handmade Books, Installation, RefectSpaceGallery, Sculpture, Solo Exhibition, Solo Show, Tapestry, Textiles, Trauma

VoyageLA Interview: Conversations with Debra Disman

December 15, 2022 By Debra Disman

I am honored to have been interviewed by VoyageLA, for their LOCAL STORIES  section, which was posted DECEMBER 12, 2022.

Thanks to colleague artist Luciana Abait for referring me!

Interview Copy:

“Today we’d like to introduce you to Debra Disman.

Debra, we appreciate you taking the time to share your story with us today. Where does your story begin?
I was born and raised in the Chicago area where the Chicago Art Institute became a second home, and took art classes growing up, both in and out of school. In high school, I also started working in community arts as a volunteer and continued this when I went to college at the University of Iowa. I was an art major with a focus on painting but also studied drawing, printmaking, literature and creative writing, and was in the Iowa Undergraduate Writers’ Workshop in Poetry, which was one of the reasons I went there. I have always had a passionate interest in both image and text (“art and writing” as we used to call it!) and their interrelationship, and have sought ways to put them together, as evidenced in my current book, object, installation and “textual tapestry” works. I also studied a year in France, learning the language and traveling extensively, imbibing masterworks, architecture, landscape and craft, which sparked a lifelong love of travel and cultural explorations. From the very beginning, teaching has been part of my career, and when I moved to San Francisco after graduation, I began teaching onsite at the De Young Museum and through their urban outreach program, an experience which has informed my work ever since as a teaching artist in the Bay Area and now across Los Angeles County, as I engage with its diverse communities. Working as both a solo practitioner alone in the studio and in the public sphere of community engagement offers a rich practice and life, which compels and challenges commitment and creativity from all angles.

I worked this way in San Francisco for many years, showing in the Bay Area and across the country and then became involved with painting art furniture while trying to learn business skills. I had a San Francisco-based entrepreneurial enterprise for 15 years called ArtiFactory Studio, providing decorative painting, color consultation, surface design and murals to clients from all backgrounds and walks of life, as well as organizations and businesses, and continued teaching as well during much of this time. I went through the certificate programs of both the Renaissance Entrepreneurship Center in San Francisco and the International Association of Colour Consultants/Designers in San Diego, and later the UCLArts and Healing Social and Emotional Arts (SEA) Certificate Program, The Annenberg—Inner-City Arts Professional Development Program and “Creativity” series, and the Cal State Los Angeles/City of LA Deprtment of Cultural Affairs Community Teaching Artist Program, to enhance my skills, broaden my education and connect with others, which has been invaluable to my work and career on all fronts.

When I relocated to Los Angeles in 2012, I knew I wanted to recommit to an evolving studio practice and teach in the community. I began proposing bookmaking and other workshops to my local Santa Monica Library, and to my delighted surprise, was able to start teaching almost right away. I had made artists’ books and taught bookmaking and  story-writing in San Francisco, but took the object of the book and the teaching of bookmaking structures to a whole other level in Los Angeles. By dint of persistent and concentrated effort, I have been able to develop a multi-faceted practice around these which has allowed me to exhibit my work in galleries, museums, universities and libraries across LA and the US and teach in an array of community settings and situations. I am honored to be an enthusiastic local artist in residence at 18th Street Arts Center, serve as an artist-in-residence for the City of LA Department of Cultural Affairs, and to have received a Santa Monica Artist Fellowship in 2021, all of which have allowed me to continue, develop and grow my work, practice and life!

We all face challenges, but looking back would you describe it as a relatively smooth road?
I don’t think any path in life is smooth! There are always challenges, obstacles, contradictions and paradoxes encountered along the way. I have been privileged to create and be offered a number of opportunities here in the LA area, including being referred to Voyage LA by my colleague and twice collaborator Luciana Abait! I made huge changes in my work and the way I worked when we moved to Los Angeles from San Francisco in 2012. The very essence of the environment, art scene and offerings is so different in flavor, scale, intensity and mindset. In San Francisco, I had been focused on working as an entrepreneur doing custom and commissioned work for individual clients, so it was very client-driven and collaborative which I loved. When I moved to LA, I knew I was going to return to an individual studio practice and transform my way of working though I did not know exactly which form it would take. I concentrated on building up my work as a teaching artist to connect with and support the community and allow me the freedom to pursue my own inclinations, vision and voice in the studio. These two aspects of my practice have worked very well together but it has not been for lack of concerted work and effort. I knew very few folks when we moved here, so the whole process has been a glorious exploration and voyage of discovery of my own evolving creative path as well as of this remarkable and continually transforming city and region, which offers so much and seems to have a place for everyone who is willing to make the effort.

One of my biggest challenges at this point is time and how to allocate it! Between teaching artist gigs and studio work, pursuing and participating in exhibitions, studio visits, residencies and project grants, the time to view gallery and museum shows requires a lot of decision-making, and I am not able to see all I would love to see. I am continually working on the time and energy management of my work and career in all its permutations, also because it is important to show up and support others.

Can you tell our readers more about what you do and what you think sets you apart from others?
I am a visual artist with a strong background in writing who works both as a solo practitioner and in the public sphere of community engagement. I am known for my work inspired by the book, which traverses tapestry, installation and sculpture, often pushing familiar forms into works that arrest and baffle while simultaneously (I hope) offering places of contemplation and solace. As a maker and teaching artist, I aim to offer and invite altered ways of viewing the world and how we inhabit it and instigate exploration and examination of what we think we know and are. I do this in very conceptual ways in the studio and in more direct, concrete ways with students and the community-at-large.

Although I am seen to fall into the “categories” of book artist as well as fiber and textile artist because of my use of string, cord, thread and cloth/fabric/textiles, I identify as a contemporary artist working in two and three dimensions with the materials that most move and matter to me at any given time. The evocative, visceral, physical quality of materials drives my work and gives it its emotional resonance and relevance vis a vis how it is used. I am compelled to layer, wrap, stitch, knot and glue as well as paint, draw and write. The “tactile textile” becomes “text-ual” as well as textural when text is added to it, which is another way of layering, disrupting and complicating the surface to add levels of meaning. I love repetitive labor in making, and finding more and more ways to engage with a specific material, such as sewing and stitching with cord, then knotting and wrapping with it, then gluing it to a surface. One process inspires another, illuminating the expressive potential of the medium.

When I work with the community, I offer a roadmap of instruction that allows people to participate in creating a piece or structure which they can then take to another level and transform to their needs and inclination while learning artistic and technical skills along the way. The main focus of my teaching artistry is on bookmaking, but I also teach sculpture, drawing, painting, collage, color theory and art history. If I present a strong enough foundation of how-to, students will gain the confidence to explore the what-next and even the why at times. This is exciting and extremely gratifying, as it allows me to see the healing effect of art and artmaking close-up and personal. Studio work and teaching artistry are part of the same continuum of my creative practice, and some of my favorite projects employ both, such as “Unfolding Possibilities”, a unique artists’ book I created and stitched with words submitted by participants in my “Bookmaking With Self-Compassion” workshop presented online through 18th Street Arts Center and We Rise LA during mental health awareness month in response to COVID-19. By integrating the participants’ voices, the book, which can unfold to 78” long, became a collaborative artistic record of the greater community’s experience of the pandemic..

In terms of your work and the industry, what are some of the changes you are expecting to see over the next five to ten years?
I think the art world, like all other sectors of society, is always shifting and changing, but certain issues remain the same such as surviving and thriving as an artist, which for most in today’s world requires entrepreneurial skills and the ability to create your own opportunities; the comparative scarcity and expense of studio space and other necessary resources for artmaking, even including the availability of materials held up by supply chain issues; gatekeeping and bureaucracy; elitism and status issues, competitiveness, hierarchy and the proverbial internalized pecking order; and ongoing inequities as regards to race, gender and class which can severely limit opportunities and challenge basic functioning in the art world and world-at-large. There are institutional and organizational efforts being made to combat, mitigate and better these conditions, but it is slow-going, and it remains to be seen whether such efforts will continue and grow or whether they will be revealed to be a trend, momentarily capturing our ever-decreasing attention spans.

As we get more and more entwined with digital interactions and social media in particular, I think it gets harder to connect to what is real and tangible, even visceral, which is what I feel we as humans crave. The digital world offers many opportunities for those who are able to effectively use and not be consumed by it, so the balance is tricky. The art world reflects this tension, and artists, craftspeople and other makers are working to resolve it in a myriad of creative ways.

I think we will see more and more efforts on the part of individuals to balance and integrate seeming opposed factors and conditions such as online versus in-person; material/physical verses digital; ideas and theories verses feelings and behaviors; and the effects of these seeming sets of opposites. The business, institutional, political and academic worlds may follow suite in their offerings if they see that this balance and integration is what the folks on the ground want and are willing to stand behind, as ultimately their survival and relevance depend on people’s engagement with what they present. These changes take time and energy, two things that are always at a premium.”

Contact Info:

  • Website: https://debradisman.com/
  • Instagram: https://www.instagram.com/artifactorystudio/
  • Facebook: https://www.facebook.com/debra.disman/

Read the interview and see images HERE!

About VoyageLA in their own words:

“We started Voyage Group of Magazines in Los Angeles, with our flagship publication VoyageLA.  After generating our first million page views in LA we knew our content was resonating with the community.

We’ve since grown to a handful of other amazing cities with the help of an amazing network of friends, associates, local insiders and influencers, PR firms, local bloggers, artists, creatives, entrepreneurs and other professionals.

OUR MISSION & EDITORIAL ETHOS

Our small team has been working hard to create a new type of media for our community. As you browse through our stories you’ll notice that many of our interviews aren’t as polished as you’ll find elsewhere in the media. That’s intentional – we believe that far too many in the media filter, edit, and polish away the personality of interviewees and as a result so much of what we see in the media feels like it’s coming from the same person, the same voice, etc.  We think it’s important for media to more authentically represent the communities they serve and so we try to ensure that voices of those we feature jump off the page.

We also think artists rock.  We love small businesses, mom-n-pops, and food trucks. We’re not snobs, but we aren’t fond of most chains.  We think independent entrepreneurs, freelancers and other risk takers make our cities exciting to live in.  We cherish the rebel spirit, we don’t think just a handful of large corporations should control all of our commerce and we think smores with vegan marshmallows are better than normal marshmallows. We respect people and organizations that take the path less traveled.  We root for the underdogs and we almost never say no to pizza.

Accordingly our mission is to build a platform that fosters collaboration and support for small businesses, independent artists and entrepreneurs, local institutions and those that make our city interesting.  We want to change the way people spend their money – rather than spending it with the big, cookie-cutter corporations we want them to spend their money with the independent, creative, local entrepreneurs, small businesses and artists.

And finally, we want the stories we share to help give our big city a little bit of that small town community charm, where people know each other and their stories at a deeper, more personal level.“

 

Filed Under: ARTISTS, MEDIA, Work Tagged With: AL, Artists, Debra Disman, Hidden Gems, LA Artists, LA People, LA Stories, Local Stories, Los Angeles, Luciana Abait, Voyage Group of Magazines in Los Angeles, VoyageLA, West Side

ALL SHE MAKES…from the Magazine

February 24, 2022 By Debra Disman

I am thrilled to be featured in ALL SHE MAKES  Magazineand the ALL SHE MAKES Artist Directory!

The Magazine is a must-see/read for anyone interested in the work of female artists and the art world in general.

 Sviltana Martynjuk, founder of All SHE Makes champions Women Artists through this publication and organization/venture she has spearheaded.

The incredible Christina Massey of  WoArt and creator of the amazing and beloved WoArt Blog, also promoting and celebrating women artists, and an artist in her own right, curated the selection of artists featured in this WINTER Issue IV of ALL SHE MAKES.

I am aprreciative of  this opportunity to be featured alongside so many outstanding women artists!

Filed Under: Uncategorized Tagged With: All She makes magazine, Art By Women, ARTIST'S BOOKS, Artists, Buy Women's Art, C Massey Art . WoArt Blog, Christina Massey, Curated Work, Magazine Vesature, New Work, Support Women Artists!, Sviltana Martynjuk, WoArt Blog, Women Artists, Women's Art, Womenj's Art magazine, Work Tagged With: All She Makes

“Building Networks of Empathy”

October 23, 2020 By Debra Disman

I am honored to participate in:

“Building Networks of Empathy”

at the Airport Gallery of 18th Street Arts Center in Santa Monica, CA

October 26  – December 15, 2020 

The exhibition Building Networks of Empathy is the second of a two-part show that asks us to consider the ways in which art empowers not only the artist, but its viewers to transform their most difficult experiences into enlightened outcomes. The first part of the show is an ongoing online-only exhibition entitled Facing Darkness, which encouraged artists in our community to reflect internally on our current moment of pandemic, isolation, and structural inequity laid bare.

For this second part, which will be physically installed in 18th Street Arts Center’s spacious Airport campus hangar galleries, artists were asked to respond to how they have changed as a result of their inner reflections on darkness, and to imagine new futures and societal structures as we see our way out of crisis. Each artist grapples as well with the role that art can play in social reflection, expression, and cultural paradigm shifts as a result of a deeper understanding of each other, and the empathy that follows. The exhibition sees empathy not only as a way to share and understand what others are going through, but also as a natural and endless resource that we can all rely on when crisis and emergency hit, with hopes that we can turn this moment of collective fear into a sublime experience.

Debra Disman, Chromatic Interactions: The Golden Thread, 2020. File cards, pencils, crayons, thread. Installation. 76 x 90 inches. Photo by Debra Disman. Courtesy of the artist.
Debra Disman, Chromatic Interactions: The Golden Thread, 2020. File cards, pencils, crayons, thread. Installation. 76 x 90 inches.
Photo by Debra Disman. Courtesy of the artist.

“I was commissioned to create an interactive book for Craft Contemporary’s 2017 exhibition, Chapters: Book Arts in Southern California, which opened shortly after the 2016 presidential election. Visitors could choose file cards in an array of colors, draw and write on them, and insert them into the pocketed pages of the book. A range of feelings, responses, and concerns were expressed through the cards, which the Museum Staff saved and gave to me at the end of the show. I stitched them together grouped loosely by theme, to express the network of empathy they depicted, held together by golden thread.”

This exhibition may be viewed by appointment only. Please visit here to sign up to visit the exhibition!

Participating artists include: Alexandra Dillon, Deborah Lynn Irmas, Luigia Gio Martelloni, Rebecca Setareh, M Susan Broussard, Julia Michelle Dawson, Lionel Popkin, Ameeta Nanji, Siru Wen, Elham Sagharchi, Debra Disman, Luciana Abait, Sheila Karbassian, Daniela Schweitzer, Joan Wulf, Loren Harris-Heller, Nung-Hsin Hu, and Susie McKay Krieser.

The exhibition will be accompanied by a live Zoom panel featuring Alma Ruiz and Karen Sherman, moderated by Paul Bonin-Rodriguez, on November 12, 2020 at 12pm. For this panel discussion, curators, artists, activists, advocates, and scholars are invited to meet virtually  to reflect on the public opening of Facing Darkness, and consider how the show renders a public crisis and artists’ circumstances evident and knowable. Moderated by artist-scholar Paul Bonin-Rodriguez, with talks by curator Alma Ruiz and dancemaker Karen Sherman, (Inter)facing Darkness will frame a dialogue on how artists are operating as second responders, as thought leaders, and resource gatherers at this time. Participants will be invited to speak on their experience of the show at this moment. Register here.

Filed Under: ARTISTS, Exhibitions, New Work, Presentations, Work Tagged With: "Building Networks of Empathy", 18th Street Airport Gallery, 18th Street Arts Center, Alexandra Dillon, Alma Ruiz, Ameeta Nanji, and Susie McKay Krieser., Art and Empathy, Art in the time of Covid, Artists, Artists Respond, Artists Respond to Pandemic, Daniela Schweitzer, Deborah Lynn Irmas, Debra Disman, Elham Sagharchi, Frida Cano, Group Show, Joan Wulf, Julia Michelle Dawson, Karen Sherman, Lionel Popkin, Loren Harris-Heller, Luciana Abait, Luigia Gio Martelloni, M Susan Broussard, Nung-Hsin Hu, Online Exhibition, Paul Bonon-Rodriguez, Rebecca Setareh, Response to Pandemic, Sheila Karbassian, Siru Wen

“Building Networks of Empathy”

October 10, 2020 By Debra Disman

The exhibition Building Networks of Empathy is the second of a two-part show that asks us to consider the ways in which art empowers not only the artist, but its viewers to transform their most difficult experiences into enlightened outcomes. The first part of the show is an ongoing online-only exhibition entitled Facing Darkness, which encouraged artists in our community to reflect internally on our current moment of pandemic, isolation, and structural inequity laid bare.

For this second part, which will be physically installed in 18th Street Arts Center’s spacious Airport campus hangar galleries, artists were asked to respond to how they have changed as a result of their inner reflections on darkness, and to imagine new futures and societal structures as we see our way out of crisis. Each artist grapples as well with the role that art can play in social reflection, expression, and cultural paradigm shifts as a result of a deeper understanding of each other, and the empathy that follows. The exhibition sees empathy not only as a way to share and understand what others are going through, but also as a natural and endless resource that we can all rely on when crisis and emergency hit, with hopes that we can turn this moment of collective fear into a sublime experience.

Debra Disman, Chromatic Interactions: The Golden Thread, 2020. File cards, pencils, crayons, thread. Installation. 76 x 90 inches. Photo by Debra Disman. Courtesy of the artist.
Debra Disman, Chromatic Interactions: The Golden Thread, 2020. File cards, pencils, crayons, thread. Installation. 76 x 90 inches.
Photo by Debra Disman. Courtesy of the artist.

“I was commissioned to create an interactive book for Craft Contemporary’s 2017 exhibition, Chapters: Book Arts in Southern California, which opened shortly after the 2016 presidential election. Visitors could choose file cards in an array of colors, draw and write on them, and insert them into the pocketed pages of the book. A range of feelings, responses, and concerns were expressed through the cards, which the Museum Staff saved and gave to me at the end of the show. I stitched them together grouped loosely by theme, to express the network of empathy they depicted, held together by golden thread.”

This exhibition may be viewed by appointment only. Please visit here to sign up to visit the exhibition!

Participating artists include: Alexandra Dillon, Deborah Lynn Irmas, Luigia Gio Martelloni, Rebecca Setareh, M Susan Broussard, Julia Michelle Dawson, Lionel Popkin, Ameeta Nanji, Siru Wen, Elham Sagharchi, Debra Disman, Luciana Abait, Sheila Karbassian, Daniela Schweitzer, Joan Wulf, Loren Harris-Heller, Nung-Hsin Hu, and Susie McKay Krieser.

The exhibition will be accompanied by a live Zoom panel featuring Alma Ruiz and Karen Sherman, moderated by Paul Bonin-Rodriguez, on November 12, 2020 at 12pm. For this panel discussion, curators, artists, activists, advocates, and scholars are invited to meet virtually  to reflect on the public opening of Facing Darkness, and consider how the show renders a public crisis and artists’ circumstances evident and knowable. Moderated by artist-scholar Paul Bonin-Rodriguez, with talks by curator Alma Ruiz and dancemaker Karen Sherman, (Inter)facing Darkness will frame a dialogue on how artists are operating as second responders, as thought leaders, and resource gatherers at this time. Participants will be invited to speak on their experience of the show at this moment. Register here.

Tagged With: "Building Networks of Empathy", 18th Street Airport Gallery, 18th Street Arts Center, Art, Art in the time of Covid, Artists, Artists Respond to Pandemic, Group Show, Online Exhibition, Response to Pandemic

Material Identity: The Artists

August 1, 2020 By Debra Disman

“How does materiality represent who we are? Does the material you use dictate who you are as a maker? How does medium speak to who you are as an individual?”

I am honored to participate in the show “Material Identity”

See the Show!

In the exhibition Material Identity, 27 artists and makers from 3 countries and 16 states explore the substance of material, paying special attention to their place in the world, either from a focus inward, or how they identify in society at large. This international exhibition was juried by Jiseon Lee Isbara, Otis College of Art and Design, and Jessica Kooiman Parker, Boulder Dairy Art Center.

View a ZOOM discussion between 14 of the artists participating in the exhibition, Gallery Director Sarah LaBarre, and Juror Jessica Kooiman Parker.

 

Filed Under: ARTISTS, Exhibitions, Work Tagged With: Artist Discussion, Artists, ARTWORKS Center For COntemporary Art, Artworks Loveland, Exhbitions, Group Shows, Jessica Kooiman Parker, Jiseon Lee Isbara, Material Identity, Materiality, Shows

  • Go to page 1
  • Go to page 2
  • Go to Next Page »

Primary Sidebar

Recent Blog Posts