Altarpieces for Nothing Exists Here Except the Flower
Altarpiece: Cassandra Speaks (2021)
36x48, Acrylic, oil, hammer, breath on canvas
Altarpiece: Breathe It In (2021)
36x48, acrylic, oil, hammer, breath on canvas
Altarpiece: Shielding (2021)
36x48, acrylic, oil, hammer, breath on canvas
Inaugural exhibit at Wavelength Gallery, Chattanooga TN (Jan 2021). Curated by Raquel Mullins.
what holds what (iv.)
1,157 white map pins on 30x40 sheetrock panels, 1 pink thread
Installation view at Wavelength Gallery, Touch pt. 1 , Jan 30-Feb 15 2021
To know the pain of too much tenderness (2021)
Pinprick on 18x24 paper
To know the pain of too much tenderness
(night light)
You gave it away (2021)
Pinprick on 12x16 paper
Take it back (2021)
Pinprick on 18x24 paper
Take it back (installation detail)
deinstallation photos
one day only
afterglow
asters & allium
Anna’s Room (afternoon still) 2019 ink, gesso, oil on canvas (24x36)
Anna’s Room, 2019 ink, housepaint, and oil on canvas (36x72)
Anna’s Room i. (August Window), 2019 housepaint and ink on canvas (72x72)
what holds what, 2019 drywall and thread
drywall, thread, map pins, housepaint
hold still!
I keep ripping out the stitches
everything is free now
A ghost sings, a door opens (Jack Gilbert)
if you hold your spine straight
argument
how they’ll find me
(always will )
“Like hypertext, dotted lines suggest paths but do not dictate. The dotted line is also significant because it suggests that the image can move from two to three dimensions, as in a fold up that lets “pages become tunnels or towers, hats or airplanes” (body of text/dotted line).
N. Katherine Hayles on Shelley Jackson’s hypertext novel, Patchwork Girl
Participatory Installation in the Porcelain Gallery at Spaceus, East Cambridge, March 12-18, 2019
MFA Thesis Exhibit and Installation at the School of the Art Institute of Chicago, July 2018
Mary Oliver
March 2018 Gallery 95, Beverly MA
everything you said/everything you didn’t say, 2018 performance still
con/sent (detail), 2018, pinprick on paper (24x36)
con/sent (i.) 2017, pinprick on paper (24x36)
This pain is a gift and I hate you for it, 2018 Pinprick artist book (4x6 in)
I bind and unbind my heart 2018, performance still
performance detail
ME YOU HER, Gallery 95, Beverly, MA , March 2018 (installation view)
ME YOU HER, 2018 (Installation View)
nothing is ever finished, only abandoned, 2018 Performance still
*In the Nag Hammadi, Norea calls out to Eleleth to save her from being raped by the Archons. Eleleth reveals to Norea her true nature, a daughter of spirit
Performance Oct. 6, 2018
In honor of Dr. Christine Blasey Ford’s testimony before Congress and the eventual nomination of Brett Kavanaugh to the Supreme Court, this performance moved one step down the highway for each minute of testimony, one glass was shattered to bear witness to the law which repeatedly looks the other way in order to protect the privileged from the consequences of their actions.
Dress construction by Jonathan Bennett Bonilla and Marika Whitaker; headdress by Miss G Designs.
this pain is a gift and I hate you for it, Performance Rites
MEYOUHER, Gallery 95 Beverly MA, March 2018
artist assistants: Maia Mattson and Susanna Young
this pain is a gift and I hate you for it, 2018 Performance still MEYOUHER
Pre-performance “This pain is a gift and I hate you for it”
Florals by by Maia Mattson.
Still from performance “This pain is a gift and I hate you for it”
Performance/Activation (Oct 2020)
floral design by Maia Mattson
Custom Altarpiece “Spun Free”
Activation (I Am Resilient by Rising Appalachia)
Floral Design and Custom Backdrop by Maia Mattson, Ritual Design & Altarpiece by Marika Whitaker (Ceremony Installation by Wilderness Collective)
Custom Altarpiece by Marika Whitaker
your act is always applied to paper; for meditating without a trace is evanescent, nor is the exalting of an instinct in some vehement, lost gesture what you were seeking.
to write, the inkwell; crystalline as consciousness… you noted: one does not write luminously on a dark field; the alphabet of stars alone does that, sketched or interrupted; man pursues black on white. This fold of dark lace, which retains the infinite, woven by thousands, each according to the thread or extension unknowing a secret, assembles distant spacing in which riches yet to be inventoried sleep.
mallarme (Action Restrained)
Detail from Artist Book: This Pain is a Gift and I Hate You For It (2018)
Take it back, 18x24 pinprick on paper
Take it back, detail
Studio work, first semester of graduate school at SAIC
all on that day, 2016 ink and gesso on canvas, (72x72)
“String can be looked upon as an extension of all other techniques of communication. String joins, just as it also helps in the wrapping up of objects and in the holding of unintegrated material. In this respect string has a symbolic meaning for everyone; in an exaggeration, the use of string can easily belong to the beginnings of a sense of insecurity or the idea of a lack of communication. “ DW Winnicot, Playing and Reality
Abacus ii. 2016, nails, thread, canvas, drywall
the thing is, 2016 ink and gesso on canvas (36x72)
keep it
the thing is (ii.) 2016 ink and gesso on canvas, (36x72)
seven sisters II. 2016 map pins, canvas, thread
Unsaid Saids, 2016
the thing is (iii.) 2016 . ink and gesso on unprimed canvas (36x36)
seven sisters i.
the wild swans
Whitaker Bennett Family Tree
extended family
in or out
