gallery artist: wendy wahl
about the artist
Wendy Wahl is an artist, designer and educator with 30 years of experience. Her work has been exhibited internationally and is in a number of private and public collections including the Cooper-Hewitt Museum, NY and the Museum of Art, Rhode Island School of Design. In 2010 she was selected for Networks, a project documenting RI artists through video and exhibition. She was commissioned to create a piece for the entrance of SOFA at the Park Avenue Armory, NY. Her work has been the subject of exhibitions at the Grand Rapids Art Museum, Michigan, the Newport Art Museum, Rhode Island and Fuller Craft Museum in Brockton, MA. She has received artist fellowship awards from the Rhode Island State Council on the Arts and the US Ambassador to Tashkent, Uzbekistan selected her work for his residence through the Art in Embassy Program. She has been recognized in numerous publications including Art News, Boston Globe, Casa Vogue, Providence Journal, Metropolis, New York Times, Architectural Digest, The New Yorker, the Britannica blog, the Curated Object and the WSJ. Currently she is a Lecturer in the School of Constructed Environments at the New School, Parsons. Wendy is a member of the Arts and Healthcare Advisory Group a partnership between RITAC, The Gamm, RISCA, Rhode Island Foundation and Department of Health. Since 1985 she has taught for RISD in Continuing Education and has been a lecturer at the University and Community College of Rhode Island. She received an MAE in Textile Art from the Rhode Island School of Design and a BA in Art from California State University at Northridge. She lives in Rhode Island with her husband John Dunnigan and their daughter Hannah. Wendy is a native Angelino from California, born in 1961.
Unknown spaces and complex censorship are some of the ideas explored in this ongoing experiment about the potency of printed text. This work considers the associations between the tree of life defined as the patterns of relationships that link all earth’s species and the tree of knowledge defined as the connected branches of human thought realized in the form of writing and speaking. The 2D reliefs and 3D pieces are made from the unbound pages of discarded encyclopedias. The reasons to use these cultural artifacts include their unique physical qualities, the meanings that they carry and to recognize their existence. By restructuring familiar elements that in a particular format belongs to a collective consciousness I’m commenting on an aspect of our station in time.