Join me on Saturday, April 30th from 3-4:30p for a walkthrough of Nothing Goes to Waste, the current exhibition at the Houston Center for Contemporary Craft, alongside other artists from the show.
This gathering is bittersweet as it may be our public chance to wish curator Kathryn Hall well as she leaves her post for new projects in New York. Kathryn was the curatorial fellow when I arrived to the Center for a residency at the end of 2012 and assumed the role of curator shortly thereafter. In other words, I have never known the organization without her—it is truly the end of an era. While I didn’t anticipate it at the time, the photo she snapped of me a few months ago wearing my vectran sleeve almost looks like a hand waving goodbye!
Event link.
READER'S DIGEST DEBUT
I’m not sure what surprised me more: that Reader’s Digest was still in print or that a representative from the publication contacted me asking about rights to an image they found on my Instagram account.
What I love about this picture is that it was taken by dear friend and painting phenom Rebecca Rothfus Harrell, who I’d known all of 15 minutes when we embarked from the Wurlitzer Foundation campus to check out a public art event in town during our residency at the end of 2019. She had the marvelous foresight to snap a picture as my eyes widened during a racy poem—and the rest is in the March issue.
If it’s any indication of Rebecca’s character, she even sent a copy to my mom. I hope it’s sitting on the entryway credenza, which is where all of the issues piled up at my grandparents’ house. Since they were the only RD subscribers I’ve ever known, Rube and Mary, this one is for you. ♡
FOUR SEASONS FEATURE
At the end of 2020 I was commissioned by Kevin Barry Art Advisory to create a piece for ‘a restaurant in Napa.’ I didn’t ask which one, so you can imagine my surprise when I recently learned that my work was part of an art package for the Four Seasons Napa Valley.
The concept was to depict the route of the Oat Hill Mine Trail in the style of my previous work, with a significant difference being that the leather would be sewn into canvas as opposed to tacked directly into the wall and finalized on site.
While this allows me the opportunity to create pieces for destinations far and wide, it also means that the last time I saw the piece, it was in my studio—and as I review the images, it looks like I didn’t even take one of the fully finished version.
Process shots below.
