Judy Onofrio arJenniafer Onobfrio Fornees sque

INTRODUCTION

Judy Onofrio and Jennifer Onofrio Fornes have wanted to show together “forever.” I have wanted to show them together, if not forever, for quite a long time. Both desires have come together in Arabesque , a show that is as graceful and poignant as the name implies.

When the idea for a mutual exhibit was forming, I visited a group show that included work by both mother and daughter. I knew then that Judy’s new sculptures that were just beginning to include bones and Jennifer’s mysterious figurative photographs would make a powerful, Jill Ewald engaging show. At that time I didn’t realize just how powerful. Judy had undergone cancer treatment, a process that altered both of their views of the material world. The culmination of their experiences and backgrounds, linked with such a life-altering situation, produced the work presented in this visceral, beautiful show.

Judy‘s bone sculptures and Jennifer’s painted photographs combine in Arabesque to engage the viewer through humor, grace, and poignancy, while the art invokes a desire to explore its mysteries.

JILL EWALD Director of Flaten Art Museum

Support for this catalog was provided by the Ella and Kaare Nygaard Foundation, St. Olaf College Fine Arts Fund, and Dr. Burton Onofrio. Photography of Judy Onofrio work by Rik Sferra and Jennifer Onofrio Fornes work by M. Bass.

1 ARABESQUE by Cynde Randall

When I asked Judy Onofrio and her daughter Jennifer Onofrio Fornes why they were presenting an exhibition together, Judy replied, “We’ve wanted to do this forever.” Forever is a compelling idea. It has no beginning, no end, and, magically, is most discernable in the present moment. In the here and now it is clear: the two are kindred spirits and serve as the staunchest champions for each other. As visual artists, mother and daughter are aligned on a core level. They share a preoccupation with the material realm, wielding near alchemical force to create, re-contextualize, or transform myriad objects into powerful works of art. Over the years, they have produced significant and divergent bodies of work: Jennifer’s

Judy Onofrio and Jennifer psychologically charged art has lingered in the darker recesses of the world, while Onofrio Fornes Judy’s fantastic iconography has celebrated the abundance of life. Their most recent work, featured in the exhibition Arabesque , illuminates a shift in consciousness and material form that is nothing less than transformational. It may be said that Judy and Jennifer have reinvented themselves, releasing their attachment to earlier visual means and arriving at an aesthetic common ground that is both elegant and sublime. Here, the object or figure no longer invites a psychological or narrative read, but serves as a departure point for reflection on the great mystery and transitory beauty of life. @

In the early years, mother and daughter were steadfast companions. They spent countless hours working side-by-side in the studio or traveling on a never- ending quest for flea markets and outsider art, where Judy collected the multitude of objects she later incorporated into her sculptures. Judy modeled many things for her daughter. She is an amazing self-taught artist, an advocate for other artists, and a leader in the arts community. She is Judyland detail expansive in her thinking and fearless about exploring new territories. She main - tains exuberance for life and grand visions for her projects. Over the course of Jennifer’s childhood, Judy created large installations of clay sculpture, built fabric environments, created monumental wood constructions, and generated outdoor monuments and pyrotechnic performances. All of these things made an extraor - dinary impression on Jennifer, who, to this day, cites Judy as the most powerful influence on her artistic identity. When Jennifer left home in 1984 to pursue her life as an artist, it was clear from the start that she was immune to the conventional boundaries of media. As she developed her artistic practice, she found a voice that was uniquely her own. Jennifer often employed the object as a psychological surrogate. Often bound or confined, Jennifer’s surrogate objects spoke to the angst of entrapment and oppression, or mortality. The darkness of this early work was viscous, crusty, and Hidden Among Leaves palpably painful (and would inform her work for the next two decades). Like her

2 mother, as she continued to work and refine her aesthetic, she explored material cues of mortality, creating powerful works in the spirit of momento moris. Judy began to create jewel-encrusted shrines and sculptures from the assortment of objects she had collected for years. Like an obsessed magician, she incorporated literally hundreds of objects into each piece of art. These delightful, embellished sculptures embraced her passion for outsider art (e.g., the Watts Towers in Los Angeles and the Grotto in Dickeyville, Wisconsin) and her obsession with collecting. They became her signature on the national scene and setting the stage for her practice through the next decade. Jennifer, too, had engaged a new body of work. While she had always pursued the psychological self, in 2004 she embarked on a photographic inquiry of the physical realm, using her own body as her material subject. Some of her images read like strange dissected scientific specimens, divorced from any particular identity or era. Many are framed in oval or circular shaped antique hat-stretching Mrs. B frames, merging the sensibility of Victorian portraiture with a contemporary deconstruction of the “nude.” The animated feel of this work recalled the motion studies of early 20th-century photography and evoked a multiplicity of organic forms, such as wings, illuminated landscapes, or clouds. In 2007, as Judy was recovering from a serious illness, both mother and daughter experienced a profound shift in consciousness that resulted in a trans - formation in their art. Judy perceived a shift in her relationship with objects when she became interested in a box of bones that had been in the studio for years. The resultant series, Reclining Women, proved transitional. Several months into it, Judy created a radically different work called Bone Basket . “One day, I got Trace detail out of bed and went directly to the studio and began working with a pile of bones,” she said. Fixing together several large cow leg bones and pelvic bones, she built a basket-like structure. In the “basket” she placed a jawbone, still intact with its teeth, inset with a seductive, hand-carved pear. “I loved the color and flowing linear relationships of the bones. I knew that it was a real breakthrough,” said Judy. Bone Basket opened the door to a whole new way of working. A new way of thinking about bones came from Gallen Benson, her longtime friend, artist, and devoted student of qigong and native healing practices. “Gallen has been a transformative influence on my understanding of healing and enlight - enment. When we focused on the bones, he helped me to see them as energy; he showed me ways to work with both the physical and spiritual aspects of that energy,” Judy said. Now taking her cues from the palette and flowing forms of the bones themselves, Judy honed in on a new kind of rhythm. She prepared a series of large oval panels, painting them, layer after layer, with fleshy creams and whites, letting the paint pool, puddle, and drip into lakes of color. In some she embedded bits of mirror to capture the viewer’s passing reflection in the surface of the work.

3 To each oval she attached bones, curvilinear fragments of architecture, and a select number of hand-carved fruits and flowers, all of which she painted to match the creamy ground. “The color felt like an energy force, something pulsing with life,” said Judy. Her new palette evoked the freshness of life’s beginning, a primordial ground sprouting with organic forms, a place where anything is possible. The curves and swells of each composition create a never-ending arabesque of form. These new arrangements, while dismissing the narrative, continue Judy’s invitation to the viewer to linger over discrete objects and aesthetic detail. Simul - Bone Basket taneously, they call for a moving and flowing visual experience with the total composition. By releasing the narrative, Judy asserts the sublime experience of the present moment. Transcending the limits of representation, she presents reality in the first degree. For Judy, this work is a meditation on relationships. “To me, they feel like prayers,” she says. We cannot escape our own mortality when considering Judy’s sculpture. As we follow the flow, we can trust that our fear exists only through the limits of our comprehension. Jennifer, likewise, perceived a shift in her relationship to the object. In 2008 she began a new series of photographs inspired, in part, by the sacred dance of the Whirling Dervishes, the Sufi mystics who, since Rumi, spin to release their attachments and align with the divine. The Dervish’s moving meditation spins on a sacred axis, his long white dress and tall hat creating the shape of a cone, pointing ever skyward. Jennifer was intrigued by the perfect balance of this centered intention and the symmetrical form of the spinning body and dress. Deep Sleep detail Meditating on the Dervish and transitory organic entities, such as clouds, she set out to release the trappings of her earlier practice. Jennifer enacted a series of intense performances before the camera. Working in a ritualized way over many months, Jennifer created a series of large-scale gelatin silver prints. Painting sections of each print with dark, earthy oil pigments, she enhanced the depth of the dark and the clarity of the light (reminding us, too, that the photograph is but an object). Collectively, these images reveal her illuminated transformation. Ending the spin in Deep Sleep, the dance is done, the figure has vanished – and only atmos - pheric light remains. Judy and Jennifer present the elegant and beautiful Arabesque . The exhibi - tion offers many teachings: Nothing is fixed. The energy of the material realm never ends. Everything is changing.

CYNDE RANDALL Cynde Randall is an artist, writer, and gallery director of Swan Song Contemporary Arts in Maiden Rock, Wisconsin .

4 JENNIFER ONOFRIO FORNES

JUDY ONOFRIO

arabesque A MOTHER-DAUGHTER EXHIBITION OF SCULPTURE AND PHOTOGRAPHY JENNIFER ONOFRIO FORNES

As a mixed-media artist, I gravitate toward materials that address my conceptual concerns. Photography’s ability to function as a memory trigger is a facet of the medium that I am drawn to. We look to photog - raphy to claim our place in the world and our understanding of the world. Yet this understanding only reflects a bias that is reflected in the photograph taken and in the memories that we bring to the image. The image itself does not necessarily embody this wealth of information, it simply provokes the thought, taps a nerve, or perpetuates an idea. The fraction of a second that is recorded on film not only speaks to the specific moment that the event took place but to the past and the un - derstanding that there could be great gaps between the two. These gaps are what I explore in the studio.

Jennifer Onofrio Fornes (American, b. 1966) has exhibited throughout the Midwestern and Southeastern United States. She earned a B.F.A. from the University of Wisconsin, Madison and an M.F.A. in sculpture, photography, and drawing from the University of California, Davis. She taught sculpture, installation, photography, and drawing at the University of Minnesota, Morris, and she currently teaches photography, 3-D design, and world humanities at Augusta State University. Jennifer lives with her husband, Karl Fornes, in Aiken, South Carolina.

6 JUDY ONOFRIO

In the last two years, I have used my studio practice to process my expe - rience of mortality, renewal, and healing. The resulting series, Stories of Reclining Women, mirrored my journey to regain my health and was the bridge to my current work in the exhibition Arabesque.

Stories of Reclining Women are self-portraits, to be sure, and represent my gratitude for the support of family and friends. They are constructed of my repertoire of sculpted and embellished forms with the addition of bone. Gradually, as the series evolved, the female figure disappeared completely. The new work transformed into abstracted assemblages with an emphasis on animal bones, decorative architectural elements, and hand-carved fruit and flowers, all of which swim in oceans of paint. The process of working with animal bones made me increasingly aware of their organic beauty and the life they once supported — life that is still visible in their curves and surfaces. Through my intuitive studio practice, I sought to move beyond a specific narrative and reach toward a universal experience of beauty that would speak of the transi - tory nature of life.

In the series Arabesque, fertility and eroticism live side by side with mortality and fragility. It is my hope that this work will evoke not only a memory of the Garden of Eden, but celebrate the ongoing cycle of ever-changing life, full of expectation and promise. For me, this work is about my healing process and the celebration of being fully alive.

Judy Onofrio (American, b. 1939), a self-taught artist, has exhibited her sculptures and mixed-media art nationally and internationally. Her artworks can be found in public and private collections all around the world, from Australia to Finland, and from coast to coast and all parts in between in the United States. The excellence of her work has been, and continues to be, acknowledged through numerous grants and awards that include the prestigious Bush Artist Fellowship, and the McKnight Foundation Distinguished Artist Award. Judy currently lives with her husband, Burton Onofrio, in Rochester, Minnesota, where she also maintains her artist studio.

7 OF THE DISTANT AND FAMILIAR 2010 silver gelatin print, oil 38.75 x 27.75 x 3.5 inches HYDRANGEA 2009 mixed media 42 x 28 x 16 inches FRENZY 2010 silver gelatin print, oil 38.75 x 27.75 x 3.5 inches BONE BASKET 2008 mixed media 20 x 23 x 26 inches DEEP SLEEP 2010 silver gelatin print, oil 32.75 x 23.5 x 3.5 inches FLUX 2010 mixed media 74 x 36 x 36 inches MORTAL COIL 2010 silver gelatin print, oil 32.75 x 23.5 x 3.5 inches OW! 2009 mixed media 11 x 14.5 x 5.5 inches WHISPER IN DUST 2010 silver gelatin print, oil 38.75 x 27.75 x 3.5 inches MEMORY 2009 mixed media 31 x 35 x 15 inches PASSAGE 2010 silver gelatin print, oil 38.75 x 27.75 x 3.5 inches SPROUT 2009 mixed media 34 x 25 x 16 inches INK 2010 silver gelatin print, oil 38.75 x 27.75 x 3.5 inches RHYTHM 2009 mixed media 58 x 36 x 16 inches WITHIN/WITHOUT 2010 silver gelatin print, oil 38.75 x 27.75 x 3.5 inches SCEPTER 2009 mixed media 44 x 24 x 11 inches SMOKE 2010 silver gelatin print, oil 38.75 x 27.75 x 3.5 inches OASIS 2009 mixed media 36 x 55 x 16 inches FALLING AWAY 2010 silver gelatin print, oil 38.75 x 27.75 x 3.5 inches THRIVE 2010 mixed media 44 x 11.5 x 9 inches JUDY ONOFRIO

BIRTHPLACE New London, Connecticut Dance

EDUCATION Sullins College, Bristol, Virginia

GRANTS AND AWARDS 2005 McKnight Distinguished Artist Award, McKnight Foundation 2001 Minnesota Crafts Council Lifetime Achievement Award 2000 Rochester Art Center Lifetime Achievement Award 1999 Bush Artist Fellowship, 1998-99 1995 McKnight Foundation Fellowship in the Visual Arts, 1994-95 1994 Arts Midwest/NEA Regional Fellowship Grant, 1993-94 1993 Minnesota State Arts Board Career Opportunity Grant 1983 YMCA Women of Achievement Award, Rochester, Minnesota 1978 Minnesota State Arts Board Fellowship Grant

SOLO EXHIBITIONS 2009 Jungle Dance, Sherry Leedy Contemporary Art, Kansas City, Missouri 2008 Ringmaster: Judy Onofrio and the Art of the Circus, Chazen Museum of Art, Madison, Wisconsin Stories of Reclining Women, Thomas Barry Fine Arts, Minneapolis, Minnesota 2007 Voila!, Sherry Leedy Contemporary Art, Kansas City, Missouri 2005 Come One, Come All, Traveling Exhibition 2005-06 Daum Museum of Contemporary Art, Sedalia, Missouri Arkansas Arts Center, Little Rock, Arkansas Rochester Art Center, Rochester, Minnesota The North Dakota Museum of Art, Grand Forks, North Dakota 2004 New Sculpture, Thomas Barry Fine Arts, Minneapolis, Minnesota 2003 SOFA, Sculpture Objects and Functional Art, Chicago, Illinois, Sherry Leedy Contemporary Art, Kansas City, Missouri 1995-2008 2000 The Greatest Show on Earth, Sherry Leedy Contemporary Art, Kansas City, Missouri 1995 Temptation, Gallery, Sherry Leedy Contemporary Art, Kansas City, Missouri New Sculpture, Thomas Barry Fine Arts, Minneapolis, Minnesota Judyland, Laumeier Sculpture Park and Museum, Saint Louis, Missouri 1993 Judyland, Minnesota Artists Exhibition Program, Minneapolis Institute of Art, Minneapolis, Minnesota Judyland, North Dakota Museum of Art, Grand Forks, North Dakota

SELECTED GROUP EXHIBITIONS 2008 SOFA, Sculpture Object and Functional Art, Chicago, Illinois Sherry Leedy Contemporary Art, Kansas City, Missouri, featured SOFA Artist 2008 2007 Cheongju International Craft Biennale, Cheongju City, South Korea 2006 Folk Nouveau, Metro State University, St. Paul, Minnesota The Art of Whimsy, Olmsted County Historical Society, Rochester, Minnesota Evermore, Minnesota Museum of American Art, St. Paul, Minnesota

28 Tooth and Claw: Creatures Imaginary and Real, Tory Folliard Gallery, Milwaukee, Wisconsin Art Chicago, Chicago, IL, Sherry Leedy Contemporary Gallery, Kansas City, Missouri Art Chicago, Chicago, IL, Tory Folliard Gallery, Milwaukee, Wisconsin 2004 A View from America: Contemporary Jewelry, Royal Melbourne Institute of Technology, Melbourne, Australia Play Ball!, Thomas Barry Fine Art, Minneapolis, Minnesota Art Form, West Palm Beach, Florida, Tory Folliard Gallery, Milwaukee, Wisconsin 2003 Greatest Show on Earth, Sherry Leedy Contemporary Art, Kansas City, Missouri Women On The Edge, Duane Reed Gallery, St. Louis, Missouri 2002 Of and About Clay, Gallery Hertz, Louisville, Kentucky Northern Clay Center, Two-Person Exhibition, Minneapolis, Minnesota 2001 Minnesota with a Twist, Fredrick R. Weisman Art Museum, Minneapolis, Minnesota 1999 The Figure in Contemporary Sculpture, The Tweed Museum of Art, Duluth, Minnesota A Bountiful Beginning, Frederick R. Weisman Art Museum, Minneapolis, Minnesota Woman in the Weisman, Collection: Spirit of Seneca Falls, Frederick R. Weisman Art Museum, Minneapolis, Minnesota Brooching it Diplomatically, a Tribute to Madeline Albright, International Traveling Exhibition Attitude and Action North American Figurative Jewelry, Birmingham Institute of Art and Design, Birmingham, England The Jewelry Gallery at DESIGN yard, Dublin, Ireland Beadz! New Work by Contemporary Artists, American Craft Museum, New York, New York Bright Bold & Beaded, Tory Folliard Gallery, Milwaukee, Wisconsin Beads and Baubles, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York Pure Vision, Fuller Museum of Art, Brockton, Massachusetts 1999 Pure Vision, Lowe Art Museum, Coral Gables, Florida Pure Vision, Lamont Gallery, Exeter, New Hampshire Pure Vision, Philbrook Museum of Art, Tulsa, Oklahoma Pure Vision, Sherry Leedy Contemporary Art, Kansas City, Missouri 1998 Narratives International Jewellery Art Exhibition, Museum of Art and Design, Helsinki, Finland Joyce Scott & Friends, Mobilia Gallery, Cambridge, Massachusetts Pure Vision, Decorative Arts Museum, Little Rock, Arkansas Passionate Obsessions, Phipps Center for the Arts, Hudson, Wisconsin Pure Vision, Boise Art Museum, Boise, Idaho 1998 Pure Vision, Pensacola Museum of Art, Pensacola, Florida 1997 In Full Bloom, Sherry Leedy Contemporary Art, Kansas City, Missouri Pure Vision, Union Art Gallery, Louisiana State University, Baton Rouge, Louisiana Myths and Magical Fantasies, California Center for the Arts Museum, Escondido, California American Art Today/The Garden, The Art Museum, Florida International University, Miami, Florida Birds, Thomas Barry Fine Arts, Minneapolis, Minnesota Embellished, National Surface Design Conference, The Lawrence Art Center, Lawrence, Kansas Essentially Beads, Tempe Arts Center, Tempe, Arizona 1996 Schmuckszene 1996, Handwerkmesse, Munchen, Germany 1995 McKnight Artists, MCAD Gallery, Minneapolis College of Art and Design, Minneapolis, Minnesota Pure Vision, Rochester Art Center, Rochester, Minnesota Pure Vision, Sherry Leedy Contemporary Art Gallery, Kansas City, Missouri Brilliant Stories, Arts America Program of the United States Information Agency Touring 1992-95, Jordan, Saudi Arabia, Algeria, Morocco, Pakistan, Egypt 1994 Holiday Exhibition, Sherry Leedy Contemporary Art, Kansas City, Missouri Boxes, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, Nebraska 1993 International Shoebox Sculpture Exhibition, University Art Gallery, University of Hawaii A View from Australia, Gold Treasury Museum, Melbourne, Australia 1992 Day of the Dead, Ann Nathan Gallery, Chicago, Illinois Language of Jewelry, Helen Williams Drutt Collection, Röhsska Museum of Arts and Design, Göteborg, Sweden

29 1992 Museum of Applied Arts (Taideteollisuusmuseo) , Helsinki, Finland 2nd Oregon Clay Invitational, Renshaw Gallery, Linfield College, McMinnville, Oregon 1991 Collage/Assemblage, Gallery I/O, New Orleans, Louisiana Slippery When Wet, Invitational, Olson-Larsen Galleries, West Des Moines, Iowa Artist’s Choice, Objects Gallery, Chicago, Iowa Objects, Olson-Larsen Galleries, West Des Moines, Iowa 1990 American Dreams/American Extremes, Museum Voor Hedendaagse Kunst Het Kruithuis, Hertogenbosch, Netherlands Provinciaal Museum voor Moderne Kunst, Oostende, Belgium 1990 Two Person Exhibition, Peter M. David Gallery, Minneapolis, Minnesota Art for the Holidays, Sherry Leedy Contemporary Art, Kansas City, Missouri 1989 Body and Soul, Three Person Exhibition, Steensland Gallery, St. Olaf College, Northfield, Minnesota New Art Forms, International Exposition, Chicago, Illinois, Sherry Leedy Contemporary Art, Kansas City, Missouri Vision and 3-D Representation, Coffman Memorial Union Gallery, University of Minnesota, Minneapolis, Minnesota 1988 Arresting Form, Love of Media, Katherine Nash Gallery, University of Minnesota, Minneapolis, Minnesota Two Person Exhibition, Peter M. David Gallery, Minneapolis, Minnesota

PERMANENT COLLECTIONS Australia The National Gallery of Victoria, Melbourne, Australia Canada Montreal Museum of Decorative Arts, Montreal, Canada Finland Arabia Museum, Helsinki, Finland Germany Die Neue Sammelung, Pinakothek der Moderne, Munich, Germany Netherlands Museum of Contemporary Art, Voor Hedendaagsa Kunst Het Kruithuis, Hertogenbosch, Netherlands United States The Renwick Gallery, The Smithsonian American Art Museum, Washington, D.C. Daphne Farago Collection, Museum of Fine Arts, Boston, Massachusetts Museum of Fine Arts, Houston, Texas Helen Williams Drutt Collection, Museum of Fine Arts, Houston, Texas Frederick R. Weisman Museum, University of Minnesota, Minneapolis, Minnesota The Minneapolis Institute of Art, Minneapolis, Minnesota North Dakota Museum of Art, Grand Forks, North Dakota Laumeier Sculpture Park and Museum, St. Louis, Missouri McKnight Foundation, Minneapolis, Minnesota Daum Museum of Contemporary Art, Sedalia, Missouri Fuller Craft Museum, Brockton, Massachusetts Hallmark, Kansas City, Missouri Cooper-Hewitt Museum, New York, New York Decorative Arts Museum, Little Rock, Arkansas Greenville County Museum, Greenville, NC Minnesota Museum of Art, St. Paul, Minnesota National Endowment, National Council on the Arts, Washington, D.C. North Hennepin Junior College, Minneapolis, Minnesota Norwest Bank, Rochester, Minnesota Rochester Community and Technical College, Rochester, Minnesota State Foundation on Culture and the Arts, Art in Public Places, Hawaii University of Wisconsin, Lacrosse, Wisconsin University of Wisconsin, River Falls, Wisconsin

GALLERY AFFILIATIONS Sherry Leedy Contemporary Art, Kansas City, Missouri Thomas Barry Fine Arts, Minneapolis, Minnesota Tory Folliard Gallery, Milwaukee, Wisconsin

30 JENNIFER ONOFRIO FORNES

BIRTHPLACE Bethesda, Maryland Mortal Coil #2 detail EDUCATION 1991 M.F.A. University of California, Davis 1988 B.F.A. University of Wisconsin-Madison

TEACHING 1995-Present Professor, Augusta State University: Photography, 3-Dimensional Design, Installation, World Humanities, 1991-95 Assistant Professor, University of Minnesota, Morris: Studio Foundations, Sculpture, Photography, Inquiry

HONORS AND GRANTS 2008 Faculty Research and Development Grant, Augusta State University, Augusta, Georgia 2007 Faculty Research and Development Grant, Augusta State University, Augusta, Georgia Faculty Research and Development Grant, Augusta State University, Augusta, Georgia 2005-06 Governor’s Teaching Fellow, University of Georgia, Athens, Georgia 1994 Professional Development Grant, University of Minnesota, Morris, Morris, Minnesota 1993 Professional Development Grant, University of Minnesota, Morris, Morris, Minnesota 1992 Professional Development Grant, University of Minnesota, Morris, Morris, Minnesota 1990 Materials and Research Grant, University of California, Davis, Davis, California

SOLO EXHIBITIONS 2007 Dusk, The Arts Center, St Petersburg, Florida Recent Work, Mary Pauline Gallery, Augusta, Georgia 2006 Waiting Room, Sherry Leedy Contemporary Art, Kansas City, Missouri 2002 Beyond the Surface, Gertrude Herbert Institute of Art, Augusta, Georgia 2000 Skin and Bones, Sherry Leedy Contemporary Art, Kansas City, Missouri 1999 Recurring Gaps, University of South Carolina, Aiken, Aiken, South Carolina 1997 Current Works, University Center, Rochester, Minnesota 1996 27, Installation, Augusta State University, Augusta, Georgia 1995 Stall, Installation, Rochester Art Center, Rochester, Minnesota 1994 Tethered, Installation, Mankato State University, Mankato, Minnesota Still Room, Installation, Leedy-Voulkos Art Center, Kansas City, Missouri Still Room, Installation, HFA Gallery, University of Minnesota, Morris, Minnesota 1991 Silent Ground, Installation, University of California, Davis, California 1989 Interior View, Installation, Oblong Salon, Davis, California

SELECTED GROUP EXHIBITIONS 2009 Recent Works, New Space Gallery, Augusta, Georgia 2008 Art Chicago, Sherry Leedy Contemporary Art, Kansas City, Missouri Lightsome Recall, Sherry Leedy Contemporary Art, Kansas City, Missouri

31 2008 Summer Invitational, Thomas Barry Fine Arts Gallery, Minneapolis, Minnesota Lois Hodgell Invitational, University of Minnesota, Morris, Morris, Minnesota Of Art And Artists, Gertrude Herbert Institute of Art, Augusta, Georgia 2007 Beyond Likeness, North Dakota Museum of Art, Grand Forks, North Dakota 2006 Transition, New Space Gallery, Augusta, Georgia Something About Soul, JB White’s, Augusta, Georgia 2005 SOFA, Sculpture Objects and Functional Art, Chicago, Sherry Leedy Contemporary Art, Kansas City, Missouri Of Art And Artists, Gertrude Herbert Institute of Art, Augusta, Georgia Morris Museum of Art, Invitational, Augusta, Georgia 2004 Move, Invitational, Rochester Art Center, Rochester, Minnesota Thirteen Moons Invitational, Thirteen Moons Gallery, Santa Fe, New Mexico 2003 Autumn Art, North Dakota Museum of Art, Grand Forks, North Dakota Fiber Exhibition, Sherry Leedy Contemporary Art, Kansas City, Missouri Of Art And Artists, Gertrude Herbert Institute of Art, Augusta, Georgia SOFA, New York City, Sherry Leedy Contemporary Art, Kansas City, Missouri Thirteen Moons Gallery, Group Exhibition, Santa Fe, New Mexico 2002 Survey Fiber 2002, Snyderman Gallery, Philadelphia, Pennsylvania 2001 SOFA, Sculpture Objects and Functional Art, Chicago, Snyderman Gallery, Philadelphia, Pennsylvania SOFA, Sculpture Objects and Functional Art, Chicago, Sherry Leedy Contemporary Art, Kansas City, Missouri Figurative Metaphors, Rochester Art Center, Rochester, Minnesota Points of View, Mississippi Gulf Coast Community College, Gautier, Mississippi 2000 House Guests, Linda Durham Contemporary Art, Galisteo, New Mexico The Summer Show, Sherry Leedy Contemporary Art, Kansas City, Missouri The Big Bang, Rochester Art Center, Rochester, Minnesota 1999 Arts in the Heart, Gertrude Herbert Institute of Art, Augusta, Georgia 1998 Sacred Spaces, Rochester Art Center, Rochester, Minnesota Arts in the Heart, Gertrude Herbert Institute of Art, Augusta, Georgia 1997 Leedy-Voulkos Invitational, Leedy-Voulkos Art Center, Kansas City, Missouri Ware’s Folly, Gertrude Herbert Institute of Art, Augusta, Georgia 1996 Stop to Consider, Leedy-Voulkos Art Center, Kansas City, Missouri 1995 A Silence Broken, Leedy-Voulkos Art Center, Kansas City, Missouri 1993 The National Exposure Exhibit, ARC Gallery, Chicago, Illinois 1992 51st Annual Sioux City Juried Exhibition, Sioux City Art Center, Sioux City, Iowa 13th Annual WARM Exhibition, Minneapolis College of Art and Design, Minneapolis, Minnesota 1991 Minnesota Metaphors, Rochester Art Center, Rochester, Minnesota The Gift, University of California, Davis, Davis, California 1990 Photography, Davis Art Center, Davis, California House of Gesso, Oblong Salon, Davis, California 1988 Conflict of Interests, University of Wisconsin, Madison, Wisconsin

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arabesque St. Olaf College Flaten Art Museum, Dittmann Center 1520 St. Olaf Avenue, Northfield, MN 55057

February 2010