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“Solstice” is body of new paintings and installation pieces by artist Danielle Peters. Peters often evokes human-plant interaction and symbiosis through the textured patterns and somnolent atmospheres depicted in her performances, drawings, paintings, and sculptures. “Solstice” focuses on all living beings’ common necessity for rest. She explores instances of leisure, peace, sleep, suspended animation, and dormancy. She considers the idea that plants, animals, people, and civilizations aren't dead when they are still, paused, or at peace. Rather, it is these moments of rest, visualization, and contemplation that lead to greater progress, creativity, and the reaching of one’s full potential.
Peters received her BFA and minored in Art History at the University of Kansas in 2009. In the spring of 2009 she studied printmaking in Seoul Korea at Hongik University. She received her MFA in printmaking at the University of Georgia in 2013. She has exhibited work across the U.S. and internationally: Alberta, Canada; Tokyo, Japan; Seoul, Korea; Buenos Aires, Argentina; and Cairo, Egypt. Her installation, “Moments of Transcendence” is currently exhibited locally, at the Santa Cruz Museum of Art and History.
Join us for cocktails, holiday cheer, beautiful art, and trunk show by Monica Squitieri Jewelry and Urb Apothecary from 5 to 9 pm Friday December 4th.
This exhibition celebrates the end of the Professional Practice Workshop series I led at California State University Stanislaus. Through a student development grant I was able to take students on tours of galleries, museums, artist studios, residencies, and graduate programs in L.A. and the Bay Area. I was also able to lead a professional writing workshop that assisted students in strengthening their proficiency in applying for grants, internships, artist residencies, and graduate programs. This grant allowed me to host visiting artists who gave lectures on their professional experience and demonstrations on the techniques they use in their artistic practice. This exhibition showcases the work of Jonathan Barcan and Elizabeth Kleene and student work created through collaborative projects and demonstrations.
Midwest Matrix was a symposium, documentary film screening, and exhibition that I was a part of at the Grunwald Gallery of Art in Bloomington, Indiana from August 29th - October 1, 2014. This event celebrated the history and present of Midwest Printmaking.
Showing with a great group of Lawrence gals, can't wait!
Soil Gallery
112 3rd Ave S
Seattle, WA 98104
(206) 264-8061
Opening Reception and Performance Event: Thursday, June 5 from 6 PM to 8 PM On view: From Thursday, June 5 at 6 PM to Saturday, June 28 at 5 PM
The word Mistiko translates to mystic. Candied Calamari uses this word to describe the importance of ritual and the scared treatment of objects in their performance/installation at SOIL Gallery. Mistiko will display live actresses engaging in sacramental action in a futuristic landscape.The space will be altered by the actions of the performers throughout an hour long performance. The space will remain altered with the residual evidence of activity for the remainder of the exhibition. Candied Calamari is a collaboration between artists Rachel Debuque and Danielle Peters. Debuque and Peters met at the University of Georgia and formed by their collaboration over an interest in pattern, performance, and color.
To pledge your support for this project please visit: https://www.kickstarter.com/projects/251515054/candied-calamaris-journey-to-the-mistiko For more information, please visit: soilart.org
For more artist information, please visit: racheldebuque.com and daniellepeters.com
This is an article I wrote on Lawrence Print Week for Printeresting: www.printeresting.org/2013/09/23/lawrence
Here are some additional photos by Ella Weber that didn't quite make it into the article...
Nice Paintings: A Solo Exhibition of Paintings at the Lawrence Art Center, Lawrence, KS
Ever since meeting Clint during my years at KU I have been collecting his prints and attending any exhibition of his that I am able to make. His imagery is quirkily sentimental, sometimes dark, with always at least a tinge of humor. Typically his imagery consists of bizarre bohemian gatherings or a meeting of boyhood idols: actions heroes, movie monsters, and historical figures. I say his work is sentimental, because no matter who he is depicting, whether it is Frankenstein's monster or body builders, there is always a kind of tender affection apparent, whether it is between Clint and the subject matter or between the subjects themselves. Familial love, man love, a mother's love, love, love, love. He meticulously depicts these characters through delicate line work in the form of colorful drawings or intaglio prints.
This show is different. His sole medium is paint and his imagery is much less representational. The works are divided between portraits and nonrepresentational compositions. I would like to focus on the nonrepresentational paintings, since they at first seem like a complete divergence from his earlier work. It is very interesting to see his strange use of color and form stripped of all representational elements. Somehow, you still get the subtle mix of somber and funny in these theatrical abstractions. It is this combination of moods as well as the color palette of gloomy greens and browns with bright, almost neon, little accents that make my mind keep going back to Picasso's short lived circus period. Clint's droopy jumble of shapes with patches of bright patterning give off the same mundane, gloomy yet cheerful vibe given off by the clowns and performers of Picasso's "Family of Saltimbanques" and "The Acrobats Family." I admit, I may be inclined to make these connections because I am so accustomed to seeing in Clint's paintings an array of freakish characters usually relating to each other in a familial way. It may be impossible for me to look at Clint's abstractions without personifying each line and shape and creating sweet little weepy relationships between each of them.
The Studio of Andy Byers, Venice Beach, CA
If I close my eyes and imagine the studio of my dreams, these photos sum up what it is I see. I first saw the work of Andy Byers when I watched the Sundance channel series Green Porno, wherein Isabella Rossellini dresses up in a variety of paper insect costumes and demonstrates how different types of insects mate. However, I didn't know who created those paper costumes until Adam Smith (Invisible Hand gallery owner) was telling me about the last artist he showed, Andy Byers. When I saw pictures of the show, I put two and two together and realized that Andy was also the same artist who had left such a strong impression on me years earlier with the Green Porno costumes. Adam told me that Andy was a really nice guy and suggest that I contact him. I did, and when I started planning my cross country trip, I knew I had to add a studio visit with Andy Byers into the mix.
There were huge rolls of bright colored paper begging to be cut up, a salty ocean breeze coming through the windows, an adorable boston terrier at my feet, and a hilariously zen yard complete with magical stones. As cool as Venice Beach is, I don't think I would ever leave my house/studio if I had a set up like that. It is a nice life you're living Andy, keep it up!
The Studio of Kristen Morgin, Los Angeles, CA
Traveling up the coast through L.A. I stop to visit with mentor and friend Kristen Morgin. I meet her at her studio, a gigantic warehouse she shares with another artist. Her art and strange collections fill the space. Her toys, instruments, old magazines and comics first seem ordinary. A closer look reveals that many are meticulous, delicate, identical replicas of these ordinary objects, completely hand sculpted from unfired clay. I did not have my camera on me at the time but above is a gift Kristen gave me when she taught at the University of Georgia (she is incredibly generous). It is a flawless clay replica of a cardboard scrap with doodles and a Donald Duck sticker (I had admitted my secret lingering childhood obsession with unicorns during a class once, hence the pink unicorn). In another part of her studio sits her larger than life Cadillac, again, made from unfired clay! During my quick visit we talked about some of the craziest trips she used to take students on when she taught at CSU Long Beach, all of which made me miss my time with her at UGA. Hope to see you again soon, Kristen!
Grandma's House, Tustin, CA
Velkommen! First stop after crossing the Arizona border... Grandma's house. I have been visiting her beautiful hilltop home every summer since the day I was born. From her place you can see ocean sunsets, Catalina Island (on smog free days), and Disney's 9 p.m. fireworks every night! Oh so ready to drop off the giant paper sculpture monstrosity that I have been hauling across country (Georgia Museum of Art, Athens, GA > Invisible Hand Gallery, Lawrence, KS > Grandma's Living Room, Tustin, CA). In exchange for chipping in (big time) for my kickstarter project (artist residency in Argentina) I gave her this guy! Not many grandma's would be ecstatic over a 7 foot sculpture hanging in their living room, but my grams is the greatest, coolest, craziest of them all. Love you grandma!
The Home of Rachel Debuque and Justin Plakas, Las Vegas, NM
What a great place! Had such a good time visiting New Mexico... perfect weather, cactus, hot springs, wonderful food, and such a nice home to be welcomed in. Rachel and Justin's house is right down the street from a great park... with Taco trucks and cookies baked by the sun!
Downtown, Las Vegas, NM
Traveling now, with Andrew Burkitt, his two boys, and a trailer for my giant sculpture recently deinstalled from The Invisible Hand Gallery (special delivery to my biggest fan in Southern California... grams), we make our way out west! We stop in Las Vegas, New Mexico to visit our friends and great artists: Rachel Debuque and Justin Plakas. Las Vegas has the most amazing old west downtown. Plaza Hotel was the setting for that great scene in No Country for Old Men and Charlie's Spic and Span... DELICIOUS spicy breakfasts with tons of green chiles and freshly baked tortillas!
Beth Kleene at the Invisible Hand Gallery: Artifice Destiny
One stormy night of driving later, I arrive in Lawrence, Kansas. That Friday I see what my anti-sleeping, workaholic, talented, painting friend Beth Kleene has been up to. Her solo show, Artifice Destiny, is a great collection of her paintings. Her photoshop inspired manipulation of paint and pattern is beautiful and unique. It is really impossible to stop looking at them. BONUS: I finally got to meet the woman responsible for this crazy lady: the lovely Mary (Beth's mom)!
During the past few months I have traveled across the U.S., seeing more than my fair share of amazing art, meeting up with old friends, and making new ones. I started out the summer in Athens, Georgia, teaching an Intaglio printmaking course to one of the best group of students I have ever had the privilege of working with. I was on a tight schedule. We all met in the morning of Thursday, Aug. 26 for our final critique (pictured above) then ate lunch at The Rooftop of the Georgia Theater. After our goodbyes, I fit myself into my Buick LeSabre filled to the top with all of my worldly possessions. I directly set off towards Lawrence, Kansas with the goal of making it in time for my friend's painting exhibition at The Invisible Hand Gallery.
Check out the work of artist friend Kristi Arnold! I met her back in Lawrence, KS years ago. Since then she has been living and making work in Australia and New York. I love it!
I had the privilege of hosting UGA Printmaking Student Association's visiting artist, Kristi Arnold in March. We made tons of prints with the help of graduate and undergraduate printmaking students. Check out this student blog about her visit or see more of her work at www.kristi-arnold.com!
Thank you Debuque for telling me about this artist collab. I love it!
The academic engine that fuels much artistic print production and inquiry hits a fever pitch at this time of year with students at all levels of higher education producing culminate work toward their various degrees. The future of print belongs to these young minds so why not survey what they’re making. For the rest of the month, Printeresting will be sharing a sampling of thesis work from all over the US and beyond in a series called All These Theses.
Here are some pictures from Danielle Peters‘ printmaking MFA Thesis Exhibition (March 22nd) at the Georgia Museum of Art. She used cut prints, paper, and mirror mylar to make sculpture, diorama, installation, and costumes. Pieces include Symbiosis: Performance, Writhe: Sculpture, and Cavediving: Print/Diorama.
Candied Calamari is an ongoing collaboration between artist Rachel Debuque and myself initiated this April 2013. Our love for color and pattern drew us together at the end of our studies at the University of Georgia. As recent grads (a.k.a. jobless artists) moving our separate ways, we are currently seeking opportunities to to reconvene down the road. If anyone has any ideas or leads for us please let us know. We would like to create a SPECTACULAR video/performance once we have access to the space and resources.
The boundaries between body and landscape will blur when Lawrence native Dana Peters returns to present a new exhibition of works, Hibernaculum, at The Invisible Hand Gallery.
Peters, who recently received her MFA in printmaking from the University of Georgia, is a multidisciplinary artist who works primarily with cut paper to create costumes, installations, sculptures and two-dimensional pieces.
Like much of the work Peters has created over the past 6 years, the two-dimensional, cut paper pieces that comprise Hibernaculum explore the internal and external spaces of the body, combining physiological and geographical elements to make forms that can seem at once elemental and incredibly elaborate. Throughout, Peters’ use of soft, nuanced color gives her work a fantastical air that adds mystery and depth.
“The patterns and textures I create often hint at corporeal matter like hair, fluid, and tissue,” Peters says. “My palette of florescent pastels transforms these bodily substances into dreamlike objects that ignore the reality of the body in preference of a cleaner, idealized perception of its inner workings.”
The exhibition’s centerpiece is a site-specific sculpture, which Peters will build into the gallery’s skylight.
Hibernaculum opens at The Invisible Gallery on May 31. (SR)