Materials Matter

Jody Alexander . Joe Brubaker and Will Brubaker . Club S & S . Stephen Paul Day

Veva Edelson . Andrew Hayes . Gyöngy Laky . Lisa Kokin . Jacqueline Rush Lee

Emily Payne . Sibylle Peretti . Richard Shaw . Tim Tate . Maya Whitner

23 Sunnyside Avenue . Mill Valley, CA . 415.384.8288 . seagergray.com

Materials Matter

Jody Alexander . Joe Brubaker and Will Brubaker . Club S & S . Stephen Paul Day . Veva Edelson . Andrew Hayes . Gyöngy LakyLisa Kokin . Jacqueline Rush Lee . Emily Payne . Sibylle Peretti Richard Shaw . Tim Tate . Maya Whitner www.seagergray.com

Exhibition Dates:March 5 - March 31, 2013 Reception for the Artist: Friday, March 8, 6 to 8 PM

Front Cover: Andrew Hayes, Harrow, steel and book pages, 10 x 18 x 6”, detail Back Cover: Maya Whitner, Epithelium, welded steel and nails. 16 x 20 x 16”

Direct inquiries to: Seager Gray Gallery 23 Sunnyside Ave. Mill Valley, CA 94941 415.384.8288 art@seagergray.com All Rights Reserved

Materials Matter

As the title of the show implies, the March exhibition at Seager Gray Gallery has as its focus, materials – glass, wood, thread, buttons, clay, steel, books, paper. We are interested in how artists interact with and master their materials and how the materials themselves matter as an essential part of the content of the work. We find that we are drawn to works in which artists use their medium as a means of communication. Like all galleries, as we became more established, our own direction began to define itself attracting artists of like mind. Certainly our focus on book-related works gave us a broader understanding of how a harmonic chord can be struck when form and content are in perfect harmony. That aesthetic understanding has extended itself more broadly to all works of art and we had a clear purpose in putting together this March exhibition.

In Lisa Kokin’s Primary, the use of thread as a medium is more than just a means to an end. The material itself is easily associat-ed with connection, fragility and the tender thread that is bro-ken when a loved one is gone. An earlier work, Piecework unites imitation sinew with buttons and household materials, giving clues to the history and character of the subject. Similarly, there is a rich source of communication in the clay sculpture of Richard Shaw, the glass teardrops of Sibylle Peretti and the sharp contrast between the toughness of steel and ephemeral quality of gathered book pages in the sculpture of Andrew Hayes. Two of the artists, Jacqueline Rush Lee and Jody Alexander use books as their prima-ry material. Lee’s sculptures focus on the book as her medium and archetypal form. Alexander’s works reveal her love of the book as an aesthetic object, enduring through time.

The collaborative works by artists Joe and Will Brubaker utilize their vast collection of discarded materials from old houses and

furniture to make new configurations that set carved figures in abstract environments that speak of time and endurance. In Fragile Password, Gyöngy Laky constructs the word “Yes” from ash cut-tings and commercial wood, suggesting that concepts and words have their own architecture – an architecture built on historical meanings and mutual understandings (or misunderstandings).

Stephen Paul Day’s cast bronze piece, Twin Daggers contrasts the cold bronze and primal weaponry with the innocence of the twin girls holding their dolls on the handles - particularly poignant during these days of weaponry and child violence. Tim Tate’s work, La Généalogie de la Littérature features both blown and cast glass in a reliquary of artifacts from the world of printing – books, typewriters and pencils topped with an old typewriter eraser. Here again, the material has the possibility of protecting, while remain-ing eminently breakable. Emily Payne’s New Crop, an installation of wire “seed” sculptures hangs as 3 dimensional drawings in space and Veva Edelson plays with the idea of “figurines” and mythology in her exquisitely crafted porcelain works.

Finally, there is the toughness of nails and steel in the sculpture of Maya Whitner and the fragility of paper napkins in the com-pelling drawings of Club S & S (a collaboration between artists Sibylle Peretti and Stephen Paul Day) in their mysterious Suicide Notes. Materials matter. Whether forged or cast, stitched, drawn, welded or painted, these artists repeatedly interact with their materials until they develop a keen understanding of how they behave. It is in that process that each finds their own means of expression and identity as an artist.

Upholsterable: Bookshelf

rebound antique books, wood tea-stained batting

10 x 23 x 5” above

Upholsterable: Cloth

rebound antique books, wood tea-stained batting

7 x 7.5 x 4” upper right

Upholsterable: Steel Wool

rebound antique books, wood tea-stained batting

7 x 9 x 4” lower right

Jody Alexander Statement:

The Upholsterables Series is part of a bigger installation named Preparing for Evanescence that addresses the relative ephemeral nature of humans compared to the belongings that we accumu-late, and how we cope with our mortal awareness. The treatment of the objects in this installation exhibits a concern for their well-being, and the caretaker’s need to create and protect in the face of powerlessness and dematerialization. Each posses-sion has been attentively prepared and placed for safekeeping between the folds of fabric, stitches of thread, in the sediment of a household.

In these pieces, the handling of the spines is as much for the their own care as it is a necessary process for the artist - a busy-ing of the hands, a quieting of the mind and a distraction from the inevitable. Equal attention is given to objects of use and sentiment as well as space and time. Bio:

Jody Alexander is an artist, bookbinder, papermaker, librarian and teacher who lives and works in Santa Cruz, California. She makes paper, in the Eastern-style, and uses her papers to bind books with exposed sewing on the spine in a number of historical and modern binding styles. She combines these books with found objects, wooden boxes and drawers, metal, bones, etc. to create sculptural works. Her pieces celebrate collecting, storytelling, and odd characters. She also likes to rescue books in distress and give them new life as rebound books, scrolls and sculptural pieces

Jody Alexander has taught book arts at San Francisco Center for the Book, The Center for the Book in New York City and University of California, Santa Cruz. Her work appears in a number of publications including Masters: Book Arts: Ma-jor Works by Leading Artist, 500 Handmade Books, and the recently published 1000 Artists’ Books: Exploring the Book as Art.

Antonio

recycled and carved wood 50 x 50”

Joe Brubaker and Will Brubaker Statement:

Joe and Will Brubaker first collaborated in 2007 on a sculp-ture for Burning Man in Nevada. After a break until 2012, Will and Joe began collaborating again on pieces using found wood and metal. The dynamic pushes each of us into new directions and produces work that is a rich dialogue in form and meaning. The collaborative process enables us to apply our distinct visions and skill sets to our work. Our similar goals and aesthetic sense allow us to collabo-rate freely, however at the same time we have very different perspectives and methods that also allow us to express our individuality through each work of art. The work is about the reclamation of beauty in the face of decay. The alchemy of art turns a lost assortment of objects into a “found” work of art. We see the influence of many artists in this work: Paul Klee, Robert Ryman and Robert Rauschenberg, in addition to the folk art tradition of using materials on hand in an additive manner.

Bio:

Joe Brubaker was born in Lebanon, Missouri in 1948 and was raised in Southern California. Joe received his B.A. from Sacramento State University, then attended U.C.L.A. where he earned his M.A. in 1978, followed by an M.F.A. in 1980. Brubaker has exhibited extensively at galleries in San Francisco, Seattle, Laguna, Boston and Santa Fe. His recent exhibition at Seager Gray Gallery featured new works creat-ed in collaboration with his son Will.

Growing up in an artistic household, Will Brubaker devel-oped his own creative vision. He has a painter’s instinct for resolving disparate elements and balancing color. The col-laborative works of Joe and Will Brubaker were a successful addition to the December exhibition at Seager Gray Gallery and at the Aqua Art Fair in Miami, garnering new fans and collectors.

Carlos

recycled and carved wood 50 x 50”

Club S & S Statement:

Suicide Notes are a poetic collaboration between artists Stephen Paul Day and Sibylle Peretti. Each artist works independently, hinting at experiences of tenderness, sadness, separation and connection but staying in the background enough to leave an aura of mystery. The works are sometimes touching, sometimes haunting as they inspire in the viewer multiple personal associations of their own poignant experiences, the napkins themselves suggesting the imper-manence of all things living. Suicide Notes were first shown in an unframed installation at Galerie Hirschmann in Berlin. Bio:

Based in both New Orleans and Cologne, Ger-many, American artist Stephen Paul Day and German artist Sibylle Peretti have collaborated under the name Club S & S, founded in 1993, since 2000. Their exhibitions include, 1822 at the CAC in New Orleans, Diluvial Hood at the Freies Museum, Berlin, and an unofficial Souve-nir Wagon for Prospect-1. Their awards include two Joan Mitchell grants, a Pollack Krasner grant, and a Warhol foundation award.

Both artists enjoy active individual careers, exhibiting and teaching around the world. They work in a variety of materials including glass, clay, bronze and paper.

Suicide Notes 9 and 3

drawing, printing, type on napkins 31 x 31” and 11 x 31”

Stephen Paul Day Statement: Stephen Paul Day’s work explores his interest in the parallels between archeology, myth, children’s stories and modern life. He creates imagined artifacts from a fictional land, allowing ample opportunity for parody and illumination. In Twin Daggers, the cold bronze and primal weaponry contrast with the innocence of the twin girls holding their dolls. Bronze is used to great advantage here, enticing us in the endearing figures of the girls and menacing as we consider the sharp blades. That which protects can wound or even kill. The piece seems particularly poignant in this age of gun violence against children. Bio:

Stephen Paul Day lives in New Orleans and works part-time in Berlin Germany. His main studies began at the Ecole Des Beaux Arts in Paris from 1979 to 1983. He had his first solo show in New Orleans at the alterna-tive Bienville gallery in 1985. He is now an artist with the Arthur Roger Gallery. In 1986 he received the first of many artist residencies at the Experimental Glass Workshop in New York City. He stayed for six years. During this time, he was awarded a grant to study with Laurie Anderson at the Banff Art Center, worked with Dennis Oppenheim and Jenny Holzer. He began to teach at the Bild-Werk Art Akademy in Frauenau Ger-many where he currently teaches. In 1993, he and his partner, Sibylle Peretti founded the collaborative group, Club S&S. Their exhibitions include, 1822 at the CAC in New Orleans, Diluvial Hood at the Freies Museum, Berlin, and an unofficial Souvenir Wagon for Pros-pect-1. Their awards include two Joan Mitchell grants, a Pollack Krasner grant, and a Warhol foundation award.

Twin Daggers

cast bronze 17.75 x 6 x 3.25 in

Everything Changes

porcelain 13 x 11 x 9 “

above

Goatlight

porcelain and epoxy plastic 24 x 27“

upper right

Ghost Owl

porcelain 9 x 3.5“

lower right

Veva Edelson Statement:

Inspired by myth, distortions of memory and nature. I am a craftsperson who thinks with my hands, working more intuitively than intellectually. My work is about tenderness. It is not about beauty alone. It is about a trans-formation and seeing beauty even in the exploration of pain. May work is rooted in connectedness to others, made to unite us in reflections of our common experience and to extend the space of memory to play with collec-tive distortions.

I use figurine like vignettes as a way to spark connection with human spirit. I first responded to this idea when I was eleven years old, traveling to Egypt with my grandparents and marveling at zoomorphic utilitarian objects and animal figures. Those objects are highly symbolized and were sometimes used to illustrate godlike qualities and attributes of the divine.

The detailed surface and intimate scale enchants viewers to revel in an imagined borderland between the animal and human worlds. The work ex-plores the liminal space between truth and fiction. We seek moral guidance through fabulations in which animals replace humans. My characters invite viewers in with their innocent and docile presence but also convey their contrary expression of malicious potential. This allows me to express my concerns, fears and hopes.

Bio: Veva Edelson was born and raised in San Francisco, California. She gradu-ated from Humboldt State University in 1992 with a BA in Film Produc-tion and Studio Art and later did an independent study in clay sculpture at University of Washington. In 2006, she earned a scholarship to Penland School of Crafts, beginning a longstanding relationship with the school and surrounding community.

Harrow

steel and book pages 18 x 10 x 6”

Post

steel and gilded bible pages 7.5 x 9 x 5”

Shift

steel and book pages 11 x 5 x 2”

Andrew Hayes Statement:

The book is a seductive object to hold and smell and run your fingers through. I am drawn to books for many reasons; however, the content of the book does not enter my work. The pages allow me to achieve a form, surface, and texture that are appealing to me. The book as an object is full of fact and story. I take my sensory appreciation for the book as a material and employ the use of metal to create a new form, and hopefully a new story.

Bio:

Andrew Hayes grew up in Tucson, Arizona and stud-ied sculpture at Northern Arizona University. The desert landscape inspired much of his early sculptural work and allowed him to cultivate his style in fabricated steel. After leaving school, Andrew worked in the industrial welding trade. While living in Portland, Oregon, bouncing between welding jobs and creating his own work he was invited to the EMMA collaboration. This one-week experience was liberating for Andrew and he was encouraged by his fellow collaborators to apply to the Core Fellowship at Penland School of Crafts. During his time as a Core Fellow, Andrew was able to explore a variety of materials and technique. Surprisingly, the book became a big part of this exploration. In this work he faces the challenge of marrying the rigid qualities of metal with the delicacy of the book page.

Primary

thread, stabilizer 32 x 32”

Lisa Kokin Statement:

Lisa Kokin makes art with recycled materials that she finds at flea markets, thrift stores, and recycling centers. She has worked with buttons, photographs, and books, most recently with self-help books, the contents of which she shreds, blends, pulps, glues, and otherwise modifies before presenting them to her viewers in various states of recognition.

Kokin’s work is often a critique of the socio-political status quo im-bued with a healthy dose of levity and a keen sensitivity to materials and processes.

Sewing and fiber-related sensibilities play a key role in much of Kokin’s work, which she attributes to growing up in a family of upholsterers. Thread, which in the past she used to construct and embellish her work has, in her most recent body of work, become the primary material. Kokin explores irony and memory in her seemingly ephemeral pieces, allowing transiency itself to be immor-talized in lasting works of art.

Bio: Lisa Kokin received her BFA and MFA from the California College of the Arts in Oakland, CA. The recipient of numerous awards and grants, Kokin was most recently given the Dorothy Saxe Award from the Contemporary Jewish Museum in San Francisco and the Purchase Award from the Richmond Civic Center Public Art Inte-rior Acquisitions Project in Richmond, CA. Kokin’s work has been featured in many books and articles including the upcoming Art Made From Books, Chronicle Press, by Laura Heyenga.

Piecework

mixed media buttonwork 72.5 x 45”

Fragile Password

ash branches, commercial wood paint, trim bullets 23 x 53 x 5.5”

Gyöngy Laky Statement: Whether grids, vessels, language related sculptures or abstracted architectural forms, Laky’s work cues a combined sensory and men-tal experience exploring the possibilities of form, arrangement, dimensionality, material, texture and pattern. Laky is fundamentally concerned with learning, remembering, thinking and understanding through the relationship between what is tangible and tactile and what is metaphorical and suggested working where the physical intersects with word, thought, memory and imagination. With simple text, common signs, or familiar objects she probes how experiencing these in visual, physical form might alter, extend and/or enhance a viewer’s response. By what is recognized and what is suggested she seeks mental connections one might not otherwise make - often cun-ningly combining the verbal with the visceral. With concerns crossing a variety of subjects and social issues - Laky undertakes to make a letter function like a sentence or to make a symbol, single word, sign or object function like a narrative.

At the University of California, Berkeley, during the 1960‘s years of turbulence and social upheaval, Laky developed themes that have influenced her work over the years. She describes herself as an environmentalist and artist activist. She was instrumental in developing Environmental Design at UCD as an independent department becoming a strong advocate for the establishment of an environmental sustainability curriculum in design and art. Some other themes of her sculptures and site-specific outdoor works have touched upon various concerns from time to time, such as gender-equity and diversity in faculty hiring and opposition to war.

Educated among artists and architects, Laky borrows freely from various methods and materials associated with architecture to construct sculptural wall works and freestanding forms while pursuing an aesthetic, intellectual and social enterprise. Through extensive travels she developed an interest in simple, vernacular, hand built structures with natural materials such as fences, basketry, grills, lattices, trellises, scaffolding and foot bridges associated with hand made architecture. Much of her past work has been developed employing hand-con-struction techniques related to these. The work presented in this exhibition, however, employs wood gleaned from orchard pruning, park and garden trimmings and processed wood. In such recent works Laky became particularly interested in symbolic systems such as the letters of a writing system, characters, elements, graphic representations, hieroglyphs, ideographs, morphemes, calligraphs, pictographs, runes, signs, or syllabary. Bio: Gyöngy Laky (b.Budapest 1944), San Francisco sculptor, is a past recipient of a National Endowment for the Arts grant, Laky’s work is in a number of permanent museum collections. She created a large work commissioned by the Federal Art-in-Architecture Program for the Social Security Administration Building in Richmond, CA, and another for the City Council Chambers in Sacramento, CA. She exhibits her work nationally and internationally (solo exhibitions in England, Denmark, Hungary and Spain). Her most recent solo exhi-bition was in Sacramento CA September 2012. In 2002-03, she was one of a team of three to develop a comprehensive Arts Master Plan for the new state-of-the-art, Federal Food and Drug Administration campus being built in Maryland. In 2003 “Portfolio Series: Gyöngy Laky,” was published by Telos Arts Publishing in England and the Bancroft Library at the University of California, Berkeley, released her oral history that year. Her art has appeared in numerous books, magazines and catalogs in the US and abroad including Type Ad-dicted—The new trend of A to Z typo-graphics (Victionary, Hong Kong) 2007 and 3D Typography (Mark Batty Publisher’s, New York) 2010. April 2008, the New York Times Magazine commissioned her to create titles for its environmental issue (the titles received an award from the Type Directors Club). The Smithsonian Institution is assembling a collection of Laky’s personal papers at the Archives of American Art. Laky is now professor emeritus, University of California, Davis, (chair, Department of Art mid-1990s). Both undergradu-ate and graduate studies were at UC Berkeley. Postgraduate work followed with the UC Professional Studies in India Program.

The Book of R’s

soaked and dried books, screwed together 15.5 x 15.5 x 11.5”

Jacqueline Rush Lee Statement: Jacqueline Rush Lee’s work focuses on the book as object, medium and archetypal form. Working to reveal or transform the nature of a book, Lee is interested in the aesthetic of books as cultural objects that come with their own histories of use and meaning.

By using books as her canvas or building block, Jacqueline trans-forms their formal and conceptual arrangement through a variety of practices in which the physicality and thus the context of the books have been altered. In her Ex Libris and Epic series, es-sayist Elizabeth Waddell notes: “Lee seems less to have changed the books than to have uncovered a physical state, as if books, like shells and bones, left behind a calcified framework.”

Remaining open to the physical and metaphorical transfor-mations that occur in the process, Lee’s residual sculptures or installations emerge as a palimpsest – a document that bears traces of the original text within its framework but possesses a new narrative as a visual document of another time.

Bio:

Jacqueline Rush Lee is an Anglo-Irish sculptor who lives and works in Hawaii (USA). Jacqueline has been working with books for fifteen years and is recognized for working with the book form. Her artworks are featured in blogs, magazines, books and international press, some of which include: BOOK ART: Iconic Sculptures and Installations Made from Books; PAPERCRAFT: Design and Art With Paper and PLAYING WITH BOOKS: The Art of UpCycling, Deconstructing, and Reimagining the Book. Jacqueline’s work will be featured in Art Made From Books, Chronicle Press, by Laura Heyenga, in 2013.

Slice

soaked and dried books, screwed together 12 x 12 x 12”

Emily Payne Statement: At the heart of Emily Payne’s work is drawing. Even her large hanging wire sculptures are like drawings in 3 dimensional space. By reducing things to their simplest elements, she finds that they have maximum interaction with the space around them. Shadows and the play of air around an object are as important as the work itself.

Bio:

Emily Payne was born in San Francisco and grew up in Mill Val-ley, California and Amherst, Massachusetts. She went to Oberlin College where she studied English and Women’s Studies. Emily moved to San Francisco after college and studied figure drawing and oil painting. Her love of making sculptural things with paper led her to pursue an MFA in printmaking and book arts at San Francisco State University. In the midst of busy, often noisy class-rooms, she anchored her concentration with heavy, low tech but utterly reliable tools like the letterpress, the book press and a beat up wooden ceramics table she found abandoned in the corner of the sculpture lab. It became her makeshift studio space.

New Crop (Seed Installation)

soaked and dried books, screwed together

12 x 12 x 12”

Sibylle Peretti Statement:

In my work I explore the lack of harmony between human beings, nature, and our inability of achieving a unity with the natural world. I strive to uncover hidden worlds in which a harmony can exist and heal. Children, who represent vulnerability, are placed in a diaphanous universe of potential solutions and revived through a new and intimate, perhaps mystical reconnection to nature.

While my work hovers between subjects of scientific curiosity, fairy tales and dreams, I use images of children to open our eyes to a mysterious sensibility we may have lost. My children- protagonists are immaculate in their innocence, transmitting a savage view of our own isolation. I examine the child’s identity in a world of adverse layers. The overlay and containment of irreconcilable natures - of disease and beauty, of intimacy and of distance and of innocence and knowledge - have typified the search I have found most important in my work.

Bio: Sibylle Peretti is an artist who lives and works in New Orleans and Cologne Germany.She received her MFA in Sculpture and Painting from the Academy of Fine Arts in Cologne and a Master in Glass Making and Design from the State School of Glass in Zwiesel, Germany.

She is the recipient of numerous awards including grants from the Pollock-Krasner Foundation, the Joan Mitchell Foundation and most recently Sibylle Peretti was awarded the United States Artists Friends Fellowship.

Two Genies

porcelain 18 x 28 x 10”

left page

Wall of Tears

glass and mixed media dimensions variable

this page

Bride and Ship

glazed porcelain 7.5 x 13”

Richard Shaw Statement: I try to stand back and be the absent arranger, creating a poem about a person using humor, irony, and elegance. Sometimes the subject is ac-tually me, as in the watercolor box jars, where I reference my role as the artist, using images from my sketchbooks.

The human aspect of the still life or assemblage acts as a person memori-alizing their identity using the objects from their personal narrative. The narrative itself reveals their tastes, pastimes, intellectual pursuits, sins, habits good and bad, obsessions, etc.

Identifying as another person in the arrangement of objects allows me the freedom to make unconscious decisions and to act spontaneously, to experiment and take chances, and to let the conflict of self-imposed rules go. - Richard Shaw

Bio: In the world of contemporary ceramics, Richard Shaw is the master of trompe-l’oeil sculpture. He has developed an astonishing array of tech-niques, including perfectly cast porcelain objects and overglaze transfer decals. By combining the commonplace with the whimsical, the humor-ous with the mundane, Shaw captures the poetic and the surreal with the sensibility of a comedian.

Shaw is one of the most respected and collected artists in contemporary ceramics. He came out of the San Francisco Bay Area art scene in the late 1960’s and he continues to add to his skills and appropriate from mass culture. He has developed a vocabulary of found objects that form intimate still life sculptures, complex figures, and personally referential assemblages. He brings life to the detritus of the studio, as a cartoonist animates the page.

Broom and Palette Bottle

glazed porcelain 7.5 x 13”

La Généalogie de la Littérature

blown and cast glass, wood base 24 x 10 x 10”

Tim Tate Statement: The intricate works of Tim Tate function as transparent reliquaries of forgotten (or soon-to-be forgotten) pieces of human culture. Made from blown and cast glass, these works preserve the memory of typewriters, books, old IBM Selectric type elements (golf ball-sized metal inserts, containing a keyboard of type in various fonts) and even bookreaders themselves, an endangered species in a virtual world where type is relegated to an image on a screen.

Bio: Tim Tate is a Washington, DC native, and has been working with glass as a sculptural medium for the past 25 years. Co-Founder of the Washington Glass School, Tim’s work is in the permanent collections of a number of museums, including the Smithsonian’s American Art Museum, Renwick Gallery and the Mint Museum. He was awarded the title of “Rising Star of the 21st Century” from the Museum of American Glass and was also the recipient of the 2009 Virginia Groot Foundation award for sculpture. His work has been shown at the Milwaukee Art Museum, the Fuller Museum, the Asheville Art Museum and the Museum of Arts and Design in New York. He is a 2012 Fulbright Scholar recipient and was Art-ist-In-Residence at the Institute for International Glass Research (IIRG) in the UK.

Geneology of the Short Story

blown and cast glass, wood base 12 x 5 x 5”

Epithelium

welded steel and nails 16 x 20 x 16”

Maya Whitner Statement:

An undercurrent of tension and mystery is often present in Maya Whitner’s artwork, the result of her avid curiosity and fascination with dichotomy and the all-present connectivity found in life. Her welded nail pieces exhibit her unique process playing with oppo-sition through the use of texture and an unexpected new context. These forms take a common object of harsh and rigid nature and, by using pattern and the unity of one next to the other, the object becomes both flowing and fixed. The hard nail transforms into an organic gently curving and virtually soft new structure possessing a new purpose. These pieces are constructed from repetitious and deliberate motion that becomes a meditation, every nail carefully placed in relation to the next. Her cast forms and drawings are very process oriented as well and reflect slow deliberate mindful action and sensitivity.

Bio: From a young age Maya Whitner was encouraged to express herself through both visual arts and years of formal music training in clas-sical harp. She earned her degree with highest academic and artistic honors from Skidmore College. She has worked professionally in the museum industry as an art handler/installer, fabricator and builder and worked with art object conservation and fine frame res-toration. She also taught sculpture at the Baltimore School for the Arts. After moving to West Marin, she focused more on her own creative work. In Bolinas, she has worked professionally as a steel and sheet metal fabricator, jeweler and pre-school teacher, while privately pursuing her passion as a sculptor.

Fibroin Nest

welded steel and nails 36 x 12 x 14”

23 Sunnyside Avenue . Mill Valley, CA 94941

415.384.8288 . www.seagergray.com

Tuesday - Saturday, 11 - 6 and Sunday, 12 - 5