This evolving installation is part of a trilogy of shows that have transformed at each location. Silent Salinity started at Museum of Northwest Art as part of the Surge exhibit. The gallery with three installations focused on a haunting ghost meadow, a wire salt encrusted journal turned fishing net and a ruin akin to an archaeological dig. The show evolved at 950 Gallery in Tacoma as Silent Salinity: after the dig. The ruins were catalogued and presented as artifacts. New work added includes a video installation of an eerie desert island of salt projected onto as if underwater. In Groundswell Coss brings this eeriness into this stories conclusion as she constructs a monumental wave that transforms the initial installation encompassing the gallery with misty fabric and projection.
I will be in residence at METHOD Gallery Monday through Friday March 1-20 as I transform the space from a stark dystopian landscape of salt laden grass into a churning, ethereal swell reflecting our current social climate.
I’m so pleased to be included in ArtSlant’s 10th Year of Awards. Vow has won the Sculpture Category in ArtSlant X Round One Juried Winners.
Vow is a 10′ tall upside down Pelvic Bone. Thirteen wedding gowns cover the frame to tell the story of birth & rebirth, ties that bind, a union of souls. Originally part of an installation with sound “Traces” shown at METHOD Gallery.
7:00 pm Columbia City Gallery
Join me as I share slides in discussion of my inspiration and trajectory. I’ll be showing my new work in progress, talking about my process and speaking about my the relationship between my studio work and my public work.
I’m an Interdisciplinary artist working across mediums. My artistic voice melds metaphor with culture and politics. I draw from topics that have been in my visual vocabulary for years: gender politics, stress on nature, and lifting a veil on taboo and our common secrets. My work is a fusion of contextual and visual layers. My practice incorporates traditional processes of drawing, bronze casting, and the use of digital sound and video projection. I embrace collaboration partnering across disciplines with other artists and incorporate performance and interactivity at times to deepen the viewers experience.
Free Performance: Sunday February 4, 6:00pm; Alhadeff Studio at Cornish Playhouse
“When you do things from your soul, you feel a river moving in you, a joy.” – Rumi
#BlackJoy: the understanding that even finding a reason to smile is also a form of resistance in a system that was neverdesigned for us to thrive. – Kleaver Cruz
When you wish someone joy, you wish them peace, love, prosperity, happiness…all the good things. – Maya Angelou
The cure for anything is salt water: sweat, tears or the sea. – Isak Dinesen
In October 2018 the Borealis Festival of Light will debut in Seattle. The featured event will be at the Museum of History and Industry on Lake Union for five nights, October 10, 11, 12, 13, and 14. An international showcase of videomapping on the MOHAI facade will be curated by Maxin10sity of Budapest, Hungary. This event will be free to the public and open to all ages.You can see examples of the work of Maxin10sity here: https://www.maxin10sity.
Borealis Outpost is a series of featured light installations created for the large plazas, parks, and water by local professional artists, in some instances partnering with creative technicians. There will also be an outpost at MadArt.
Borealis Aura is a group of artistic light installations that will be designed by local professional lighting designers.
Two passageways meandering between buildings in the neighborhood will host a string of light art. There will be an open call for art, sculpture, and interactive installations that use light as a media for these throughways.
Borealis Perimeter is a series of sites around the city with light and projection based installations that will open a few weeks prior to the festival. We are looking to these events to draw attention and build interest in the festival, to launch it. They include sites such as Fantagraphics in Georgetown and METHOD Gallery in Pioneer Square.
Inspired by the fact that the suffragettes communicated via chalking, I readily accepted an invitation to be part of the inaugural Pacific NW Chalk Fest. My idea to revisit Public Debt to the Suffragette was to bring attention to the current attack on voting rights. Across the country, politicians are engaged in voter suppression. They are creating obstacles to registration, limiting early voting and requiring strict voter ID, including requirements that weigh heavy on communities of color. Then as summer hit, the president pushed his mythical voter fraud claims to a new high by appointing the voting rights suppressor in chief Kansas Secretary of State Kris Kobach to lead the voter fraud commission, Presidential Advisory Commission on Election Integrity.
In late August, several women dressed in Victorian era white costumes joined me in Redmond at a new chalk festival organized by Terry Morgan of Modern Enterprises. We created a 16’ wide chalk drawing that included a flag with a cut out of the US filled with pictures to tell a history of voting rights. We drew images of historical voting rights advocates while talking with visitors about their roles in preserving the right to vote. Several young girls were shocked to hear that women weren’t able to vote before the 19th amendment granted women the right to vote in 1919. Young boys of color were also surprised to hear that they were kept from voting until 1975 when the Expansion of Voting Rights removed many limitations.
It is a long tough battle that is still being waged (or raged). I invited the League of Women Voters of Washington to join us and they set up a booth to register voters. They also ran a mock election for children to vote for president, Wonder Woman won. The Chalk Festival ran three days and broke all records of visiting public to Redmond Town Center.
Thank you suffragettes Jamie Peterson, Maura Donegan, Teresa Getty, Lisa Myers Bulmash, Anna Macrae, Jane Speleers Herrera, and Alison Farmer for your dress and creative drawing skills. And thank you to Bridget Kruszka of the Washington League of Women Voters for organizing your contribution.
I create artwork in response to the social climate. In this version of Public Debt to the Suffragette we take to the streets with chalk. I engage a cohort of diverse women artists to promulgate the right to vote through drawing and social engagement at the Pacific NW Chalk Fest (concept drawing above).
With limited funds and technology, the suffragettes used chalk to write messages, slogans and to disseminate times and locations for meetings. Inspired by the Suffragettes practice of chalking, we chalk to draw attention to current day issues of voting rights. The suffragettes of 1917 are transported to 2017 to reaffirm this basic right, currently under scrutiny by the newly formed “Election Integrity” Commission. Clad in white Victorian dress, we will engage the public in conversation while we chalk a patriotic drawing that features key figures from voting rights history, such as Susan B. Anthony, John Lewis and Frederick Douglas. The images appear within a map of the United States, within the US flag. We will actively register people to vote while creating our painterly tribute.
My fantastic performing artistic partners: Alison Farmer, Anna Macrae, Esther Ervin, Jane Speelers Herrera, Lisa Myers Bulmash, Maura Donegan and Teresa Getty.
Join us at the Pacific NW Chalk Fest at Redmond Town Center August
19th and 20th, 10am-6pm.
The vulnerability of our nation is woven into our emotional relationship with the flag. Through time the 2nd Amendment has been re-framed to fit individual arguments. Today’s legal interpretation is but ten years old. While it’s come to be understood in many circles to support individual gun ownership, this is a very recent interpretation. As time passes, context changes, as we do as a people. This is the full content of the 2nd amendment. History is story telling. The truth is illusive.
Disunion is about the state of the nation. We are a nation in disunion. While the flag is meant to represent unity, divisions have claimed it and shroud it in disparate meaning. This work literally presents the full text of the 2nd amendment, a short two sentences that has been reinterpreted through time to meet individual agendas. My intent here is to question our assumptions, to look at everything in context. The amendment, laid bare, is up for individual interpretation. Surrounded by barbed wire, the flag puts forward a question of boundaries, borders, self-defense, and entrapment. The split stars reflect our partitioned thinking as a nation.
Currently the NRA is winning the narrative battle over the 2nd Amendment. They have created a story-line that would have you thinking that the 2nd amendment means that every citizen has the right to own a gun. If you ask a historian to explain the amendment, you would find that this historically has not been the interpretation. In fact over time there have been several Supreme Court cases that have gone against provisions based on this ideology. Our current acceptance of this narrative is less than 10 years old, based on a 2008 Supreme Court case ruling, the District of Columbia vs Heller.
The amendment itself is similar to a living organism. It’s meaning morphs and adapts to meet the popular narrative and to match our personal values. In a split court, this 5-4 decision protects an individual’s right to possess a firearm unconnected to militia. One hundred years ago this would have been a stretch in thinking. What the framers were referring to is a right and responsibility to have guns to protect the community from other powers. The colonies rejected standing armies and held that instead, by holding citizens at the ready, they could come together to defend a society from outside forces, like Europeans. These weapons were muskets and could be reloaded to shoot three musket balls per minute. Today an assault weapon can be reloaded to shoot up to 150 shells per minute. Everything in context.
Woodie Guthrie wrote This Land Is Your Land in 1940 as a sarcastic response to the overplayed God Bless America by Irving Berlin. The original lyrics included two lost verses. The song was recorded and released in the early 50s, during the days of McCarthyism, and the lines were excluded, a decision made by others. In solidarity with women across the nation, this is my sarcastic response to these times, to claim our position of equality in this land. During this time of upheaval and division, Guthrie’s words remain timely for many reasons. This land is your land, this land is my land.
“There was a big high wall there that tried to stop me. The sign was painted, said ‘Private Property.’ But on the backside, it didn’t say nothing. This land was made for you and me.”
“One bright sunny morning in the shadow of the steeple, by the relief office I saw my people. As they stood hungry, I stood there wondering if God Blessed America for me.”
BookClub Sunday, May 21, 3–5 pm
March 15–May 28, 2017, artEAST Art Center
I’m happy to announce the opening of my solo show, 2nd Amendment BookClub. In particular I am looking forward to a collaborative discussion with attorney Jay Stansell interpreting the 2nd Amendment .