My Grandmother’s Story | A Powerful Statement on The History Of Mental Health
Thursday, May 18, 2017 – Thursday, July 6, 2017
Meet the Artist | Friday, May 26, 2017, 5pm – 7pm (Kathy will be presenting at 6:00 pm)
My charcoal drawings were created to give my grandmother Frances a voice. On October. 25, 1941, my grandmother was committed to the insane asylum in Independence, Iowa. She spent the next 15 years there until she was moved to a nursing home where she died five years later. Never knowing my grandmother and wanting to understand why she was committed I went to Independence where I was able to get her records. II pieced together her story through these
records and family memories.
I choose charcoal for my medium to better express the darkness of her story. I present my drawings unframed as I did not want to put another barrier between my grandmother and the viewer.
In the three years I worked on this project I have been very moved by all the people who have entered my studio and shared with me their stories of the effects of mental illness on their families. I was drawing for my grandmother but came to see there was a much larger audience.
Some of the comments viewers of these drawings have made:
– “I found myself looking unable to turn away.”
– “I left speechless with memories and emotions. Although my time in a mental hospital was short, you portrayed everything so wonderfully it hits me deep.”
– “What I think is incredible is that with only charcoal and paper you gave her a voice louder than audible words.”
– “You have spoken for so many silenced women.”
Born and raised in Dubuque, Iowa I currently make my home in Cedar Rapids, Iowa where I work out of my studio in the historic Cherry Building located in NewBo. I am largely self-taught including numerous portrait workshops by nationally known artists, classes at Mt. Mercy University and Kirkwood Community College. I continue my study of figurative drawing at Sunday life drawing at Coe College. I have done commission portraits and my artwork has appeared at various venues, including the Campbell Steele Gallery in Marion, Ia and CSPS in Cedar Rapids. My medium is charcoal, oil and acrylic.
My interest in portraiture has as much to do with emotion as it does in getting a likeness. I find myself drawn to a pose where the subject is looking into the eyes of the viewer creating an intimacy between the viewer and the subject. Iapproach my work with an inspiration and then take time to search art books and magazines and online to see how other artists have handled similar creations. I admire the work of Mary Cassatt and Jenny Saville, especially Jenny’s drawings of her pregnant with her one year old squirming in her arms.
- Tuesday, May 23, 2017 – Tuesday, June 6, 2017Artist Reception |Friday, May 26, 2017, 5pm – 7pmFree and Open to the Public
Pauline is a self taught artist winning a number of first place ribbons from area shows and has chosen to move beyond fabric to add metal, paper, paints and dyes to her work. With that change in direction she has been accepted into 7 shows of which 4 were juried at the Dubuque Museum of Art. This past September as part of a Fiber Arts group she exhibited her work at the Maquoketa Art Experience in Maquoketa. IA.
Pauline lives and works in Dubuque, IA. In May 2000 Pauline co-curated a traditional quilt show held at the Dubuque Museum of Art. For the past 7 years she has judged Needlework at the Dubuque County Fair.
This exhibit features several distinct art forms such as Notan, Encaustic, Eco and other dyeing processes, Art Quilts and 3 dimensional work.
Notan is a Japanese word meaning dark – light. It is an interaction between positive (light) and negative (dark) space
Encaustic means “to burn” and is art that uses melted beeswax applied to an absorbent surface on a rigid substrate. Adding wax gives an art piece a certain luminosity and glow and because of the layering aspect creates mystery and a dreamlike aspect that I really like.
Eco dyeing is a new form for me after doing so much sun printing, discharge dyeing and Shibori dyeing. Eco dyeing developed and was popularized by Australian, India Flint and is created by placing plant material on natural fiber fabric or watercolor paper. The fabric is bundled over a metal rod and tied tightly on or in the case of paper clipped tightly. The bundles are placed in a pot of simmering water that also has plant material and other additives such as tea or coffee grounds or metal and then “cooked” for several hours and left in the pot overnight. The next day the bundles are taken out of the pot to dry for several days. At that point they can be unrolled but still need to rest for 5 to 7 days before they can be gently washed. The prints that result are a reflection of the natural world of the dyer and in my case consists of oak leaves, maple leaves and eucalyptus leaves as well as such diverse additions as carrot slices, pomegranate seeds and even pickling spice. Each piece is unique and lends itself to hand embroidery very
Art quilts are a mixed bag as I love abstract work using dyed fabric, metals and other odd additives
**Several pieces feature paper and metal as the juxtaposition between fragile and strong are as impressive in contrast as the Notan’s black and white aspect as works depicting extremes.
- Monday, July 10, 2017 – Thursday, August 31, 2017Meet the Artist Reception | Friday, July 14, 2017, 4:00pm – 7:00mFree and Open to the Public
After a college career focused in the fine arts with an emphasis in clay, I founded a studio in the middle of the USA and vowed to make it work. Motivated to maintain my identity by my instructors in four universities, I avoided areas of the arts that compromised individuality for the ubiquitous commercial style that looks the same from east to west. My style, surface, and method make my work my own. It is more important to me to maintain the spontaneity of the surface than the identity of the subject portrayed. I want to see the clay and the gesture of the subject expressed through how I worked the surface. To me it is all about the surface.
Over the years my work has become increasingly more colorful and more playful. My themes have expanded to encompass animals in motion, under-water worlds, human aspirations and human history. Part of what I do is also engineering. I have designed installations that wrap around building corners, follow large curved surfaces, and adorned plaster, brick and stone walls.
Working in clay I have derived a profound respect for the earth and what it has to offer. The malleability of clay allows me to create virtually any image in as much or as little detail as I wish out of the simplest material and with confidence that it will last hundreds, even thousands of years.
In the decades I have been working in clay I have often thought about the days as a boy when I saw the rusted remnants of old cars, barbed wire and old machinery thrown in gullies to help slow erosion from farm fields. As young adults we knew these dump sites as places where wild animals used our refuse for shelter and as a hunting ground. I was aware even then of the contrast between nature and the rusted remnants of human activity.This exhibit is about animals in motion and wild things in the human habitat.
1976 • MFA, Arizona State University, Tempe, AZ Major: Ceramics
1974 • MA, Northern Arizona University, Flagstaff, AZ Major: Ceramics, Minor: Education
1969 • BS/Ed, University of Wisconsin-Platteville, Platteville, WI Major: General Art, Minor: Education
2016 · A Healing Arts Exhibition, The Phipps Center for the Arts, Hudson,WI, Exhibitor
2015 · Wild Things In The Human Environment, Monroe Arts Center, Monroe, WI; solo show
2014 · Wild Things In The Human Environment, Howdle Gallery, Mineral Point, WI; solo show
2014 · Ring of Fire, Sugar River Gallery, Verona, WI; Exhibitor
2014 · Perceptions of the Material World, Harry & Laura Nohr Gallery, Platteville, WI; Exhibitor
2014 · Generations of the Paoli Clay Family Show, J Nikolai Art, Milwaukee, WI; Exhibitor
2014 ·Elevating Clay; From Wheel to Wall, Overture Center for the Arts, Madison WI; Exhibitor
2003 • Slane Scholar Solo Exhibit Bradley University, Peoria, IL; Lecturer and Exhibitor
1996 • Clay AZ Art XVIII, Flagstaff, AZ; Lecturer and Exhibitor
1993 • World Clay Stomp, NAU Art Gallery, Flagstaff, AZ; Lecturer & Exhibitor
1993 • Dubuque Public Art Museum, Dubuque, IA; One-Person Show
1991 • International Exchange at Jurmala, Latvia; Guest of Soviet Artist Union
1989 • Clay Arizona Art, National Crafts Gallery, Finland; Exhibitor
1988 • Clay Arizona Art, Underground Gallery, Sweden; Exhibitor
1987 • Red Carpet Gallery, Minneapolis, MN; One-Person Show
1986 • Clay Arizona Art, Helsinki, Finland; Exhibitor
1985 • Clay Arizona Art, Rotorua, New Zealand; Lecturer & Exhibitor
1984 • West Bend Gallery of Fine Arts, West Bend, WI; Exhibitor
1984 • NAU Western Regional Conference, Flagstaff, AZ; Lecturer & Exhibitor
1983 • Marietta Representative Show, Elements Gallery, New York, NY; Exhibitor
2014 Six residential commissions from 25 to 40 sq ft
2013-14 Wild Things In The Human Environment, series of 11 murals for exhibitions
2013 Various residential commissions from 15 to 25 sq ft
2012 Cornish Society, Mineral Point Public Library, Mineral Point, WI, Immigrant Pioneers, (three panels total 9’w 3.5’h)
2012 Private residence, Cassville, WI, Fell Pony (8’w x5.5’h)
2011 Culver Corp., Prairie du Sac, WI, Cranes, (three panels from 3’h x 3w to 3”hx6’w)
2011 Rider Transit Center, Concord, NC, Public Transportation Retrospective, (five panels from 3’ x 4’ to 5’ x 6’)
2010 Private residence, Galena, IL, Eastern Canadian Moose, (5.5‘hx9’w)
2009 The Fort Group, St. Augustine FL, Mermaid with Dolphins, (8’6”h x 12’w),
2008 Peru State College, Peru, NE, (five window sized panels on façade of building)
2008 City of Menasha, Working the Locks, (7’h x 8’w)
2008 Café 4, Mineral Point, WI. Wisconsin Tuscan Landscape, (4’h x6’w)
2007 Sheboygan Public Ed Fnd, Sheboygan, WI ,Landmarks of Sheboygan ( two 3’h x 40’w)
2006 Crocodile, private residence, Mineral Point, WI (5’h x 8’w)
2005 Waunakee Community High School, Waunakee, WI, 150 sq. ft. Prehistoric Wisconsin
2004 Various Residential Commissions, ranging in size from 15-42 sq. ft.
2003 TDS Metrocom/Wall Properties, Madison, WI, Reaching Higher, 5ʼx15ʼ
2002 Brighton, CO Police/Municipal Court Facility, Transportation History, 27ʼx9ʼ
2002 First Presbyterian Church, Fond du Lac, WI, Christ Surrounded by Children, 10ʼx5ʼ
2001 John Deere & Co, Davenport, IA, Buck and Doe in the Woods, 11’6”ʼx6’6”ʼ
2000 Primate Research Center, Madison, WI, Rhesus Monkeys in Forest Canopy, 38ʼx2ʼ
2000 Mercy Medical Center, Oshkosh, WI, Peacable Kingdom, 17ʼx8ʼ
2000 City of Menasha, Menasha, WI, Commercial History of the City, 53ʼx32ʼ
2000 Stafford Schools, Stafford, AZ, K-12 Activities, five 6ʼx4ʼ
2000 NAU, Flagstaff, AZ, Elk and Havolina in Mountain Landscape, 7ʼ6”x7ʼ
2000 Private Residence, MN, Native American Wildlife Scene, 8ʼw x25ʼh
1998 University Hospital Clinic, Madison, WI, Celebration of Life, two 5ʼx18ʼ
1998 Education Center, Camp Ripley, MN, Timber Wolf, 5ʼx7ʼ
1997 Private Residence, WI, Fish and Birds, 18ʼx8ʼ with 20º corner
1996 Wichita Mountain Wildlife Refuge, Lawton, OK, Elk, Buffalo, Longhorn and Deer,
28ʼx10ʼ on concave wall (66ʼ6” degree radius)
1995 National Jockey Club, Sportsmen’s Park, Cicero, IL, Jockeys and Horses,
23ʼx7ʼ with 90º corner
1993 American Family Insurance National Headquarters, Madison, WI, Children at Play in Rural Landscape, 20ʼx14’with 54º radius
1992 Jerry’s Old Town, Germantown, WI, Life Size Pig and Corn
1991 Dubuque Internal Medicine, Dubuque, IA, Human Life Cycle , 5ʼh
1991 Puskin Museum, Moscow, Russia, Life Size Pig’s Head
1991 Latvia Art Museum, Riga, Latvia, Life Size Pig’s Head
1989 Altar Piece for Chapel on the recommissioned USS Wisconsin
1988 Honey Baked Ham Co., Corporate Office, Life Size Pig and Corn
1987 Bigsby & Kruthers, Oakbrook, IL, Horse Sculpture, 8ʼ7” tall
1986 Northern Arizona University, Flagstaff, AZ, University Activities, 9ʼx9ʼ
1986 Epply Airfield, Omaha, NE, The West Begins, 8ʼx30ʼ
1985 Bolinger Marketing, California, MO, Life-sized Wild Turkey
1985 John & Deborah Appleton, Dallas, TX, Life-sized Pig and Apples and Matched Pair of Geese
1985 McDonaldʼs Corporate Office, Oakbrook, IL, Life-Sized Pig & Corn
1980 Inter-North, Omaha, NE, Four Vases with Varying Themes, average height 42”
1979 Iowa Beef Processors, Dakota City, NE, Cattle herd, 9ʼ4”x27ʼ
2012 · Mural Magic, The Fell Pony Express, Vol. 11, No. 1
2005 · World Contemporary Public Ceramic Art, Zhang Yushan, Hunan Fine Arts Press
2003 • The Craft and Art of Clay, by Susan Peterson (third edition)
2003 • Working with Clay, by Susan Peterson (second edition)
2002 • Ceramics: A Potterʼs Handbook, by Glenn C. Nelson and Richard Burkett
1999 • Art Calendar, November
1998 • Working with Clay, by Susan Peterson
1996 • Ceramic Art and Perception, Issue 23
1991 • The Craft and Art of Clay, by Susan Peterson
1988 • Studio Potter, Volume 16
1987 • Ceramics Monthly, September
1985 • Studio Potter
1983 • Images in Clay Sculpture, by Charlotte F. Speight
1981 • Clay is the Way, Gen Kleinsmith
1980 • Ceramics Monthly, on September cover
Monday, July 10, 2017 – Thursday, August 24th, 2017
I have always been engaged by the creative fiber arts. I come by it honestly;it was bred into me. I inherited my love of textiles from my mother, who was a lifelong seamstress and fabric artist. I learned to sew, knit, and crochet from her. Weaving and felting I discovered more recently.
As a yarn collector, I am fascinated by the colors and textures, both visual and tactile. Whether shiny or dull, sparkly or matte, smooth or fuzzy, skinny or fat, lumpy or loopy, curly or flat: I want it all. I love to look at it, but most of all I want to touch it. My yarn hoard inspires me. Being a spinster, (maker of yarn,) I find happiness in an aromatic sheep’s fleece, delight in the process of washing away the dirt to uncover the white wool beneath, waiting for me to dye it brilliant hues. Then the real fun begins; what type of yarn do I want to create?
My process is intuitive and tactile. I must touch something to really understand it, and that will help determine what I do with the fiber. My fiber art, whether it is wearable or not, plays with color relationships, creates visual patterns, and also invites touch. Spinning yarn from fiber is my passion and greatest joy. I am, and always have been, a fiber artist, although it took me forty years to figure out.
I was born and raised in northwest Iowa, or what I call the tundra. Graduated from the University of Iowa with a BFA and MA in art. Worked for a regional art supply store, then managed stores in Omaha, Kansas City, and Des Moines. Moved to the Quad Cities and started teaching at Scott Community College. Lab courses were Color Theory, Basic Design, Interiors 1 & 2, and Textile Design. Lecture courses covered Textiles and Materials, as well as History of Art,
Architecture, and Decorative Arts. I retired in May 2015, after 25 years teaching in the Interior
I am a member of the Quad Cities Fiber Arts group, and the Valley Weavers and Spinners Guild, participating in demonstrations and instruction in the fiber arts. I spend asmuch time as I am able in northern New Mexico, exploring regional fiber arts. I devote the majority of my time, whether spinning, dyeing, knitting, weaving, or crocheting, to my love of all things fiber.
August 31, 2017 – October 26, 2017
Dickinson, who cites Andy Warhol as his lifelong inspiration. Dickinson graduated from Cedar Rapids’ Mount Mercy College with a degree in art. He worked nearly 20 years as a newspaper carrier for The Clinton Herald before retiring last year.
He states “I like making people smile no matter what I’m doing. If I can make you smile by looking at something bright and colorful, that’s my mission. When you can paint something people know and see in their everyday life, I think that makes them happy. And that’s always what I’m going back to… making people happy through art.”
According to Dewitt artist Ellen Wagner, Dickinson’s acrylic paintings “touch on fame, joy, and the simplicity of life. They feel good!”
September 2, 2017 – October 30, 2017
More to Come–
November 1, 2017 – December 31, 2017
More to follow–