2016 Texas Trees, Blue Print, Dallas, TX (upcoming Sept )
2015 Witness Trees of Texas, Gallery Shoal Creek, Austin, TX
Space and Place, Friesen Gallery, Sun Valley, ID
Space and Place, Gallery Shoal Creek, Austin, TX
2010 Friesen Gallery, 43° 40' 47" N 114° 21' 57" W, Sun Valley, ID
2009 Coordinates, Solo Show, Gallery Shoal Creek, Austin, TX
2008 Paper, Gallery Shoal Creek, Austin, TX
2013 Jill Lear + Katie Maratta, Gallery Shoal Creek, Austin, TX
2013 Leap, Bank of America Center, Houston, TX
2013 Drawing From Perception VII, Juried by Stanley Lewis,
Wright State University< Dayton, OH
2012 Intl Contemporary Drawing 2012, Place Suisse des Arts, Lausanne, Switzerland
2011 Signs on the Road, Winkleman Curatorial Research Lab, New York, NY
2010 Speak For The Trees, Friesen Gallery, Seattle, WA,
Speak For The Trees, Friesen Gallery, Sun Valley, ID
A Collaboration, Anne Reed Gallery/Friesen Gallery, Sun Valley, ID
Arbores Venerabiles, Glyndor Gallery, Wave Hill, Bronx, NY
Open City, Juror: Sean Scully NYSS, New York, NY
Painting Governor’s Island, NY Studio School Gallery, NY, NY 2004 Expressions, Gail Severn Gallery, Ketchum, ID
2003 Paper, Hosfelt Gallery, San Francisco, CA
2002 Drawing from Perception IV, Juried by Graham Nickson
Wright State University Art Galleries, Dayton, Ohio.
AWARDS AND FELLOWSHIPS
2013 Wright State University, Dayton, OH, Juror Award, Drawing from Perception VII
2010 Yaddo, Saratoga Springs, NY, artist residency
2006 The Drawing Center, New York, NY, Accepted into Viewing Program and Artist Registry
2002 Vermont Studio Center, Johnson, VT, Partial Fellowship
2002 Wright State University Art Galleries, Dayton, OH.
Merit Award. Purchase Award. Drawing From Perception IV
Witness Trees of Texas, TBP Fall 2015
Rocky Mountain Artists, TBP 2015
Green Art: Trees, Roots, Leaves Dec 2013
Speak For The Trees, Marquand , December 2009
Zyzzyva, Volume XIX No.3, Winter 2003
Wright State University Art Galleries, Dayton, Ohio Philip Isles Collection, New York
Julia Matthews Wilkinson, Texas
New York Studio School, New York, New York
La Chambre Syndicale de la Haute Couture, Paris, France
Southern Methodist University, Dallas, Texas B.A.
It starts with a single tree in the landscape: ancient, complex, grotesque even, and witness to history. I assign it its latitude and longitude and the investigation begins; A mapping of the experience of being in and thinking about Nature; A transcription of the way in which we process the world around us.
From the particular, the place itself: a topographic study involving measurement, proportion, negative space and positive forms. To the general, the idea of the thing rather than the thing itself: territory, light, space and sound.
Then by subtraction I paint the experience of being there, letting only the major lines and colors of the landscape remain; distilling the elements until, like the tree, the significance of it survives; a kind of modern map of an old world. And, like maps, my paintings invite investigation into their white spaces by what they suggest and by what they hide.