ART, FOOD, Music

Sat, 16 Jul 2011 19:07:18 -0600

JULY 9 • 6-9 PM • ONE NIGHT ONLY

ABOUT THE WORK
I’ve been thinking of elementals. Of water. Of ritual. Of control. Of the end of things.

[Request a Mailer]
[Request a Catalog]

In Other News...
Thank you to Loggins Merrell :

Thank you also to Loggins Merrill, member of the Young Benefactors and a talented artist in his own rite for including my paintings Ethos and Pathos in the silent auction and joint fundraising efforts of the UMFA, Vivace and Studio D. The auction was a success with all pieces finding a home among local art collectors. We enjoyed some delicious food from the Frida Bistro as well as performances by Ririe Woodbury and the Utah Symphony. I hope this event happens again because I would highly recommend it!

Keep an eye out for a free limited edition catalog for Narrow Passage. The catalog will include the full body of work and will likely be available in October.

Reserve a copy here.

A NARROW PASSAGE: At WWCC

Fri, 17 Sep 2010 21:14:49 -0600

NEW WORK. CLOSING SEPTEMBER 23, 2010

ABOUT THE WORK
Narrow Passage is the beginning of a new and ongoing body of work. Silk embroidered fingerprints and labyrinthine landscapes painted and carved into wood panel reflect human touch, the passage of time and the influence human presence and memory can have on place.

[Request a Mailer]
[Request a Catalog]

STATEMENT

My work is largely influenced by my childhood experience in a Native Traditional Village in Alaska. It echoes the ambiguous nature of how one feels being born to customs and traditions not shared by bloodline. Through my work, I seek to acknowledge the unbreakable bond of people and place while transcending the boundaries that keep us hidden from one another.

I use painstaking, repetitive and meditative processes; painting, scratching, dying, sewing, drawing and cutting into existence oversized talismans, icons, relics and cave paintings. Utilizing an abstracted visual language, shadowed totemic animals and symbols appropriated from ancient and indigenous mythologies are painted in tea, soil and industrial pigments and encapsulated in plastic and acrylic paint. The figures themselves are often powerful and haunting yet broken, impotent and obsolete.

My most recent body of work is centered on fingerprint and labyrinth imagery. The labyrinth itself is one of the oldest non-representational symbols dating back to the Bronze Age. It has been associated with the journey inward – a single path beginning and ending in the same place. The historically recent “maze” comes to us as an odyssey fraught with dead-ends and lurking danger. The two seem an appropriate symbol for the dichotomy between the violent cycles of order and chaos created by an industrialized existence that are comparatively out of sync with natural cycles of order and chaos occurring in nature. From eerie images of a vacated Chernobyl quickly reclaimed by trees and deer to experiences in my own history of unstable bush plane flights over the stone polygons of the Arctic tundra, my labyrinth paintings reflect recurring childhood dreams skipping from one island to another stretching on into infinity, lost in a place uninhabitable to human life.

A sheet of fingerprints often overlooked can upon examination become a death mask, a genetic map, a portrait. The fingerprint, often associated in the present-day with identification and dehumanization, is represented here as a symbol of touch, influence, the human history of place and the simultaneous futility and positive creative potential of a life.

Adding a more pedestrian form of creation in needlepoint, I collect the fingerprints of friends, neighbors, family members and strangers who have touched my life from minute to monumental ways and transform them into embroidered silk flags. Through hours of concentrated and repetitive action, I am able to focus upon forming a human portrait, line by line, and consider the nature of the person whose private genetic information I am privy to. Put together, each small silk panel becomes a whole piece – a wailing wall, prayer flags, correspondence, a memoriam of the living.

In Other News...
Thank you to Lane Bachman for her beautiful review of Narrow Passage in 15 Bytes:

“Much like her fingerprints on silk, her past is a woven piece of the integration of native cultures. Her work echos the ambiguous nature of how one feels being born to customs and tradition not shared by a bloodline, yet Narrow Passages acknowledges the unbreakable bond of culture and place.”

See the full article here.

Keep an eye out for a free limited edition catalog for Narrow Passage. The catalog will include the full body of work and will likely be available in October.

Reserve a copy here.

A NARROW PASSAGE

Fri, 26 Mar 2010 15:12:59 -0600

NEW WORK. OPENING APRIL 16, 2010

• 1400 South 900 East, Salt Lake City, Utah
• April 16 through May 16
*Join me for tea, Friday, April 16, 6 - 9 pm

ABOUT THE WORK
Narrow Passage is the beginning of a new and ongoing body of work. Silk embroidered fingerprints and labyrinthine landscapes painted and carved into wood panel reflect human touch, the passage of time and the influence human presence and memory can have on place.

[Request a Mailer]
[Request a Catalog]

Hello, Hope you're enjoying the first hints of spring. As you can see I've been steadily at work during this long quiet spell learning to sew. (Bandaged fingertips to prove it) The creation of this body of work has been a bit of a change from the last flock of inky ravens. If you're wondering what it's all about, read on -

As we examine the impact our existence has on the places we inhabit we see primarily images of destruction from manufactured landscapes to burgeoning landfills to waning oil reserves. I’m sure many of us have seen the eerie images of a vacated Chernobyl quickly reclaimed by trees and deer. In my own history, I remember flying not so high over the stone polygons of the Arctic tundra and imagining myself skipping from one tiny island to another, lost in a place uninhabitable to human life.

In this work are thoughts and questions regarding the quiet, delicate or more invisible side of our presence: human touch, history, the fleeting and unpredictable nature of existence, the real influence of presence on place. In the face of waste, overabundance and imbalanced relationship, I do begin to wonder what is the potential positive creative value of a single human life.

A set of embroidered silk panels and wood paintings will first appear at Charley Hafen Gallery in Salt Lake City, on April 16th and will hang until May 16. On opening night (April 16th from 6 to 9 pm) I will be sharing tea and cookies and collecting more fingerprints from anyone interested in becoming a part of the embroidery project.

Future examination of the work will be featured in a large space at an upcoming show in Wyoming this September.

More to come on that very soon.

In Other News...
Thank you to Cara Despain for her write-up in The City Weekly:

Hubbard's paintings - that also employ dirt, tea and ink - are milky, abstract visceral works that deal with the dichotomy between her early years among traditional Alaskan Natives and her life in Salt Lake City. They deftly tread the thin line between tension and calm and have really become her own - she has been painting like crazy this past year.

There's a great bank of local artists worth following in the article.

See the full article here.

New Website Coming Soon!
A new website, all new galleries and an expanded biography on its way in the very near future. Keep an eye out for a free limited edition catalog for Narrow Passage. The catalog will include the full body of work and will likely be available October of this year.

Reserve a copy here.