CV

EDUCATION

  • 2004
    • MFA Painting | Tyler School of Art, Elkins Park, PA
  • 2002
    • Critical Theory | Temple University in Rome, Italy
  • 1998
    • BA Studio Art | University of California at San Diego, La Jolla, CA
  • 1993
    • Illustration | Pratt Institute of Art, Brooklyn, NY

SELECTED EXHIBITIONS

  • 2010

    • Remnants, curated by Lisa Lebofsky and Michelle Doll, Fuse Gallery, NY, NY

  • 2009

  • 2008
    • Icon Iowa 2008, Icon Gallery, Fairfield, IA
    • for you, for me, from me, FLUXspace, Philadelphia, PA

  • 2007

    • New Paintings, Julia Schwadron, Spazio 522, New York, NY
    • Spazio 522, Inaugural exhibition, New York, NY
    • Beyond the Surface – the artists of DFB, The Studio at DFB, L.I.C., NY
  • 2005
  • 2004
    • Power T’s, Pierogi2000 Gallery, Brooklyn, NY
  • 2003
    • M.F.A. Exhibition, Solo Show, Temple University Gallery, Tyler School of Art, Philadelphia, PA
  • 2002
    • Matter As Protagonist, Curated by Jessica Stockholder | Creative Arts Workshop, New Haven, CT
  • 2001
    • ARTPARTY2001, Artist’s Alliance, Inc. (AAI), New York, NY | Performance and exhibition of paintings, created as a result of documentation from “ARTPARTY2000.”
  • 2000
    • ARTPARTY2000 , New York, NY | A social event organized for the purpose of video and photo documentation, on which a series of paintings were based.
  • 1999
    • Synchronicity Space Gallery, Mercer St., New York, NY

AWARDS, GRANTS AND FELLOWSHIPS

  • 2006
    • Joan Mitchell Fellow | Vermont Studio Center, Johnson, Vermont
  • 2005
    • Visiting Artist Lecturer | University of South Florida, Tampa, FL
  • 2002-04
    • Jacob K. Javits Fellow
  • 2002
    • Recipient of the Temple University Fellowship
  • 2000
    • Virginia Center for the Creative Arts, Fellowship for Residency | Sweet Briar, Virginia
    • Oxbow School of Art, Professional Artists Residency | Saugatuck, Michigan
    • The Hambidge Center, Awarded Residency | Rabun Gap, Georgia
  • 1998
    • Undergraduate Scholastic Grant to fund solo exhibition
  • 1997
    • Nominated by Italo Scanga to exhibit for UCSD 10th Annual Undergraduate Research Conference

BIBLIOGRAPHY

  • 2008
    • “Brooklyn Dispatches: Cool Island and Garden of Chill,” James Kalm, Brooklyn Rail, July/August
    • “Come Play With Me – Four Young Artists Long To Share Their Ideas,” Roberta Fallon, Philadelphia Weekly, Jan 23rd
    • “There’s More Than One Way,” Fallon and Rosof’s Artblog, Jan. 17th
    • “We’re All In This Together,” Funnel Pages Blog, Jan 10th
  • 2003
    • “Tyler Student Wins Prestigious Fellowship,” Times Chronicle, January Philadelphia, PA
  • 2002
    • “Fellowship gives MFA a brush with success,” Temple Times, November 7th, Philadelphia, PA
  • 2001
    • “Matter as Protagonist,’ or not, at Creative Arts Workshop,” New Haven Register, June 23rd, New Haven, CT

PROFESSIONAL EXPERIENCE

  • 2010-on
    • Senior Visual Arts Editor for the Javits Review
  • 2007-2009
    • Visiting Assistant Professor of Painting and Drawing, University of Iowa, Iowa City, IA
  • 2004-2006
    • Adjunct Professor of Foundation Drawing, Intermediate Drawing and Advanced Drawing, Tyler School of Art, Elkins Park, PA
  • 2004
    • Guest Lecturer for Graduate Seminar, Critical Theory, Tyler School of Art, Elkins Park, PA
  • 2004
    • Guest Lecturer/Guest Curator – Transmedia, Postgraduate program in arts, media and design, Brussels, Belgium

ABOUT MY WORK

My paintings are derived from combinations of observations of landscapes, photographs, objects or images of other paintings.  Recently, I have been using the book covers of specific Self Help books to serve as a reflection of, or a mirror for our constant search for truth within ourselves.  I find the trope of “painting as a window to the world” a useful starting point for the possibility that the subject of a painting can portray itself, and simultaneously conjure up far more complex relationships.

From the perspective of physically putting a painting together, I like to reveal the pathways.  From the perspective of what the painting becomes, I want it to hold within it the energy and the humanity of it’s making – the back and forth, between painting and object, between me and the painting, and the viewer and their associations. Between what’s “real” and what’s magical, between what’s there as material and what the material suggests.

Since 2006, I have been working alone and with artist Steve Lambert on an ongoing “sign project”, making signs for public locations around NYC.  We spend time making simple paper drawings and then put them out into the world. The statements on my signs tend to be those that I might say to myself, most times to reassure against my own doubts.  I post signs where people will see them, and where I feel they can make an impact.  They become gifts, and my only artifact is the photograph.  My hope is that my paintings might inspire reflection in the viewer within an art context, while the “signs” become a more direct invitation to grant the internal permissions I grant myself to the public as they are passing through their day.