Debra Disman

Artist

  •

Group Show

EXHIBITIONISTA: “Evidence of Joy” at Intersect Arts Center

By

“EVIDENCE OF JOY” is a group exhibition curated by April Parviz, who says:

“Today I went to the doctor. On the sign-in station there sat a small snowman made from an old salt and pepper shaker. His head was a little styrofoam ball. His hat was the lid of the shaker, and inside his little bottle tummy were a bunch of what looked to be miniature cotton-balls. As I waited to be checked in, I observed the fact that someone had made it. She didn’t have to. But she was perhaps feeling the joy of winter, and she wanted to share her joy. The snowman wasn’t sitting in her home, it was sitting here, for me to enjoy. And I did enjoy it. The reflection that she had experienced joy in making it, and the fact that she had done it selflessly, with no expectation of thanks, brought me joy. 

After my reflection on the sweet little snowman, I began to see evidence of someone else’s joy, intentionally being shared with strangers, everywhere I went. The person in the house five doors from mine, has a little jar of complimentary dog treats out on a bird feeder hanger in their yard, right by the sidewalk. People have lovely seasonal wreaths hanging on the outside of their front doors, not on the inside. Painted rocks are mysteriously left in people’s gardens by strangers. I’m sure that now I’m aware of this, I’ll be seeing evidence of joy everywhere. And strangers will discover footprints of my own joy, making their footprints joyful too.

When I look at the current world of art, I feel like I see a lot of evidence of many inspiring things, but not always so much joy.  I know in my own art practice, I am often fueled by loud palpable emotions like pain and confusion. Perhaps if I begin practicing using joy as fuel, I will begin to do it more habitually. Perhaps if we practice seeing joy more we can become habitual joy detectives. 

Show me all the joy! I want to see and share artwork made in joy, artwork made upon discovering evidence of joy, and work that is just pure joy to look at! “

Evidence of Joy Dovetail Reception | 8.6.24 |

by Mary Oliver, 2017
“If you suddenly and unexpectedly feel joy,

don’t hesitate. Give in to it. There are plenty

of lives and whole towns destroyed or about

to be. We are not wise, and not very often

kind. And much can never be redeemed.

Still, life has some possibility left. Perhaps this

is its way of fighting back, that sometimes

something happens better than all the riches

or power in the world. It could be anything,

but very likely you notice it in the instant

when love begins. Anyway, that’s often the

case. Anyway, whatever it is, don’t be afraid

of its plenty. Joy is not made to be a crumb.”

I am thrilled to have two pieces in the show:

Narrow Bridge, 5.5 x 16 x 3.5″, board, paper, fabric, linen thread
and
BedTime Story, 12 x 28 x 8.5″, book board, textiles, cloth, clay, beads, hemp cord, watercolor paper

SEE THE SHOW PAGE!
SEE THE SHOW VIDEO!
VIEW THE CATALOGUE!

 

 

 

EXHIBITIONISTA: Soliloquy at The Bridge Art Foundation’s Scholart Selection Gallery

By

The Bridge Arts Foundation  presents “SOLILOQUY,”  hosted at our partnered gallery The Scholart Selection, in San Gabriel, CA, USA, from July 13th to August 10th, 2024.
OPENING RECEPTION: 2-5PM Saturday, July 13th
at The Scholarts Selection
417 South Mission Drive San Gabriel, CA 91776

“Soliloquy” is a solitary discourse with oneself, an intimate dialogue that transcends the confines of external perception. It captures the journey of introspection and self-discovery, where one navigates the labyrinthine corridors of their own mind, seeking clarity amidst the tumult of thoughts and emotions. “Soliloquy” is a solitary discourse with oneself, an intimate dialogue that transcends the confines of external perception. It captures the journey of introspection and self-discovery, where one navigates the labyrinthine corridors of one’s own mind, seeking clarity among the tumult of thoughts and emotions. 

During their inner reflections, the individuals grapple with existential questions, confronting their fears, desires, and vulnerabilities with raw honesty in solitude. It embraces the inherent human longing for understanding and truth, inviting the individual to confront their inner darkness and embrace the transformative power of self-reflection.

The Bridge Arts Foundation is dedicated to amplifying the voices of artists and promoting their exceptional work on a global scale. Their aim is to provide an unparalleled platform for emerging talents, enabling international recognition and celebrating diverse expressions across various artistic mediums.

“Our mission is straightforward yet profound: we strive to empower our community through immersive experiences that inspire collaboration and forge meaningful connections among creative thinkers spanning all continents. Together, let us bridge cultural gaps through the unifying power of art.” — The Bridge Arts Foundation

This show enthusiastically welcomes a wide range of artistic expressions encompassing painting, sculpture, photography, installation, mixed media, and beyond. Curating a rich tapestry of creativity, the exhibition reflects artists’ diverse perspectives and experiences worldwide.

Featured artists include Ryan Bautista, Michele Benzamin-Miki, Ming Chen, Debra Disman, Deanna Dorangrichia, Somaya Etemad, Lanyi Gao, Steve Gavenas, Shanguo Jia, Antonio Kim, Rosie Kim, Hwichan Ko, Vionna Lam, Kai Mao, Janice Nakashima, Isabella Riboni, Isabella Ronchetti, Christopher Lloyd Tucker, and Xiaoxiao Wu.

The 19 featured artists in the exhibition respond to the theme of “soliloquy” through various forms and mediums, presenting their unique journeys of inner exploration.

The 19 artworks showcased in “Soliloquy” also demonstrate the diversity and depth of soliloquy. It is not only a personal dialogue within oneself but also a significant pathway to understanding oneself and the world. Beyond the individual, these artworks collectively underscore soliloquy’s capacity to connect the individual’s inner world with external realities, offering insights that resonate with broader societal issues and enrich human connections.

Special thanks to our jury members, Charles Christopher Hill and Song Xin, as well as curator Tia Xu, for their dedicated work. We also extend our gratitude to Li Tang and Art Yourself Atelier (AYA) for the media support.

ABOUT THE BRIDGE ARTS FOUNDATION

The Bridge Arts Foundation is a 501(c)(3) non-profit organization committed to harnessing the transformative power of art to connect diverse communities and uplift emerging artists from various backgrounds.

With an unwavering commitment to fostering global understanding and diversity, we amplify artist voices and spotlight their creations both locally and globally. Join us in leveraging art’s power to unite cultures and strengthen global communities.

ABOUT THE SCHOLART SELECTION

Founded in 2022, THE SCHOLART SELECTION is a vibrant contemporary art gallery in the historic San Gabriel Mission district of Los Angeles. Deeply integrated into the city’s Asian American community, especially in its more prosperous areas, the gallery is committed to uplifting and promoting artists from diverse backgrounds for Asian collectors globally.

THE SCHOLART SELECTION transcends the role of a mere venue for art; it serves as a storyteller, an educator, and a connector. With a team of skilled curators, exhibition specialists, and media experts, the gallery breaks through traditional barriers to make contemporary art more relatable and accessible to Asian collectors worldwide. It achieves this by sharing the compelling stories behind the artworks and fostering a network that brings artists and a wide range of art enthusiasts together, thereby forming enduring bonds between the artworks, their artists, and the collectors who cherish and support them.

For additional information and press requests, please contact info@bridgeartsfoundation.com. For more information about The Bridge Arts Foundation, please go to our website https://bridgeartsfoundation.org/, or follow us on Instagram (@bridgeartsfoundation).

I am thrilled to show “I Can’t I Won’t I Will I Do”, 13 x 71.5″, Repurposed cotton table runner, acrylic paint, hemp cord

READ MY INTERVIEW HERE!

EXHIBITIONISTA: WHISPER at Verum Ultimum Gallery

By

I am thrilled to participate in WHISPER! at Verum Ultimum Gallery in Portland.

I will be showing:

"Excavation of the Interior" (shown closed and open below) 12 x 28 x 12.5", wood, paper, cloth, hemp cord, linen thread
   

Says Owner and Curator Jennifer Gillia Cutshall:
 "...when the murmur from art echoes beyond the walls & settles somewhere secret.  And "Whisper" with an exclamation may signal contradictions or dualities.  The term carries symbolism pertinent to the momentous occasion, but it also carries mystery to be filled in by artists' interpretations.  Verum is open to all perceptions of this theme.  Delicate expressions are presented, as are bold, and the term WHISPER may be framed in many ways, not necessarily meant to be a literal elucidation. All mediums and modes of expression were welcomed..  Verum Ultimum Gallery tasks artists to define this inaugural exhibition to herald in Verum's new space in Southeast Portland this summer of 2024!"

EXHIBITIONISTA: 37th Annual Northern National Art Competition

By

I am thrilled to show, “Hopes and Fears and…” in this exhibition at the  Nicolet College Art Gallery !

24.5 x 16.25″, textile samples, linen thread

The 37th Northern National Art Competition will be held in Rhinelander, Wisconsin, from June 13 – July 27, 2024, at the Nicolet College Art Gallery. Began in 1987, this show is a cooperative venture between Nicolet College Arts & Enrichment and the Northern Arts Council (NAC). The Northern National Art Competition strives to showcase a cross section of contemporary art in a variety of two-dimensional mediums. Each year, hundreds of artists nationwide submit work to be considered for inclusion in this exhibition, and the art is always both visually exciting and intellectually stimulating.

View the show!

CURATORIAL STATEMENT

Many people wonder what goes on in the selection process of a juror for an art competition. I suspect that most of the work to which a juror responds resonates with that person for a variety of reasons, and yet we are all programmed with certain pre-dispositions.

The numerous entries for the Northern National competition represented a huge range of work with about two-thirds being representational. My eye moved toward work in diverse media, work that had texture, and anything that found a way to address current environmental or global concerns with a certain indirectness.

I like to get a sense of both the pleasure and struggle in an art-making process. When an artist seems to reach, experiment, and allow their work to be less buttoned-up or seamlessly complete, it becomes infused with energy. Drawing, painting, and photography have dominated our realm for a long time. There is still much to be explored in these areas. But in the past decade or less, textiles and fiber art have fully entered into the contemporary art world, bringing a freshness of exploration and a reevaluation of histories. We can now look to craft traditions around the world and contemplate how they inspired later art movements, or how the domestic work and pastimes of women actually parallel the fine arts world more closely than we had previously allowed. We are in a time of diversification in the art world, where artists of color, women, and LBGTQ artists are addressing important issues of identity, cultural oppression, and the occlusions of history. And while this is going in, it is prying open ways of seeing the world and providing access to more means of expression to discuss pertinent issues.

The art world has never been better or more confused than it is now. We are called upon to think more broadly. If you are a landscape artist making beautiful watercolor paintings of rivers and fields, can you push your thinking? Can you ask yourself hard questions? Why am I making this? What does it mean? More importantly, what does it mean now, in the context of this era?

If you are a photographer seeking beauty in the sky or national parks, is there a way to address both the beauty and the dire needs of land conservancy and resource protection? Not all art needs to be political. But it should have a tug. It should nudge the viewer toward curiosity and wonder.”
Debra Brehmer

View the show!

EXHIBITIONISTA: PULP: BOOK & PAPER ARTS

By

I am thrilled to participate for the second time in:

PULP: Book & Paper Arts

Book Arts: Handmade artist’s books or book art objects, showing excellence in bookmaking or altered book techniques, including books made of any medium (not just paper), as well as the art & craft of letterpress printing, bookbinding, book art sculptures, etc. 

Paper Arts: including innovative or traditional explorations of paper sculpture, papermaking, etc.

The Sebastopol Center for the Arts is one of the most vibrant arts organizations in Northern, California. Since 1988 it has engaged and inspired the community through presentations of contemporary art, music, dance, film, and literary events. Through classes and workshops it strives to educate and deepen the interest in the arts for adults, teens and children. The Center is located in a 17,800 square foot building in downtown Sebastopol where it offers a large variety of arts programs and is a creative force in California. Sebastopol, located 60 miles north of San Francisco, is one of America’s premier destinations for food, wine, and the arts, attracting thousands of visitors each year.

Juror: Donna Seager of Seager Gray Gallery:
A native of New Orleans, Donna Seager’s background is in Art History. She received her
education at the University of Texas. She began in the art business in 1978, working in galleries
in New Orleans and was the director of a gallery in Boston before moving to California in 1989.
She continued to work in galleries in the Bay Area until 2005 when she opened Donna Seager Gallery. In 2011, she partnered with Suzanne Gray to form Seager Gray Gallery and moved the
gallery to Mill Valley where they are a cornerstone of the Marin arts community. Seager has distinguished herself for her discerning eye and commitment to the arts in her area. She has given lectures on the art of the book at international fairs in Miami and San Francisco and curated an exhibition at the Brooklyn Public Library entitled “Ten Years of Artists’ Books” and “This is Not a Book, Chapter 2” for the San Jose Institute of Contemporary Art. She has served on the board of the San Francisco Art Dealers Association and The San Francisco Center for the Book.