Artworks
Installation view
Witchgrass (12ft x 30 ft); Prairie Constructs Prints 54 x 36 inches; Artist Book 18 x 13 inches
2015
Photography, Collage, Drawing, Installation
2017

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  • Selma Fernandez Richter, Kristina and great grandmother Dhan Piakurel, Saint Paul, MN, 2011. “Place is latitudinal and longitudinal within the map of a person’s life. It is temporal and spatial, personal and political. A layered location replete with human histories and memories, place has width as well as depth.” - Lucy R. Lippard, The Lure of the Local: Senses of Place in a Multicentered Society “Our grandmother, Baba, made this house living space. She was certain that the way we lived…
  • "Even if one no longer speaks of painting as a window opened onto the world, the modernist picture is still conceived as a vertical section that presupposes the viewer's having forgotten that his or her feet are in the dirt."  — Yves Alain Bois and Rosalind Krauss, Formless: A User's Guide Amanda Hamilton's 11 small, new paintings in her exhibition like this at Bethel University grapple with transcendence, despair, and the legacy of Abstract Expressionism through thickly applied layers of gr…
  • Pao Houa Her's My Mother's Flowers at Bockley Gallery is a thoughtful examination of the intersection between beauty and identity. Her's series of 15 photographs alternate between delicate black and white photographs of floral arrangements and colorful images of beautiful women wreathed in tropical blooms. Both emanate a quiet, poised beauty. The formality of these photographs is reminiscent of Victorian-era portraiture and botanical illustrations with every lady, every bloom perfectly position…
  • Selma Fernandez Richter, Kristina and great grandmother Dhan Piakurel, Saint Paul, MN, 2011. “Place is latitudinal and longitudinal within the map of a person’s life. It is temporal and spatial, personal and political. A layered location replete with human histories and memories, place has width as well as depth.” - Lucy R. Lippard, The Lure of the Local: Senses of Place in a Multicentered Society “Our grandmother, Baba, made this house living space. She was certain that the way we lived…
  • Pao Houa Her's My Mother's Flowers at Bockley Gallery is a thoughtful examination of the intersection between beauty and identity. Her's series of 15 photographs alternate between delicate black and white photographs of floral arrangements and colorful images of beautiful women wreathed in tropical blooms. Both emanate a quiet, poised beauty. The formality of these photographs is reminiscent of Victorian-era portraiture and botanical illustrations with every lady, every bloom perfectly position…
  • "Even if one no longer speaks of painting as a window opened onto the world, the modernist picture is still conceived as a vertical section that presupposes the viewer's having forgotten that his or her feet are in the dirt."  — Yves Alain Bois and Rosalind Krauss, Formless: A User's Guide Amanda Hamilton's 11 small, new paintings in her exhibition like this at Bethel University grapple with transcendence, despair, and the legacy of Abstract Expressionism through thickly applied layers of gr…
  • "Even if one no longer speaks of painting as a window opened onto the world, the modernist picture is still conceived as a vertical section that presupposes the viewer's having forgotten that his or her feet are in the dirt."  — Yves Alain Bois and Rosalind Krauss, Formless: A User's Guide Amanda Hamilton's 11 small, new paintings in her exhibition like this at Bethel University grapple with transcendence, despair, and the legacy of Abstract Expressionism through thickly applied layers of gr…
  • "Even if one no longer speaks of painting as a window opened onto the world, the modernist picture is still conceived as a vertical section that presupposes the viewer's having forgotten that his or her feet are in the dirt."  — Yves Alain Bois and Rosalind Krauss, Formless: A User's Guide Amanda Hamilton's 11 small, new paintings in her exhibition like this at Bethel University grapple with transcendence, despair, and the legacy of Abstract Expressionism through thickly applied layers of gr…
  • "Even if one no longer speaks of painting as a window opened onto the world, the modernist picture is still conceived as a vertical section that presupposes the viewer's having forgotten that his or her feet are in the dirt."  — Yves Alain Bois and Rosalind Krauss, Formless: A User's Guide Amanda Hamilton's 11 small, new paintings in her exhibition like this at Bethel University grapple with transcendence, despair, and the legacy of Abstract Expressionism through thickly applied layers of gr…
  • "Even if one no longer speaks of painting as a window opened onto the world, the modernist picture is still conceived as a vertical section that presupposes the viewer's having forgotten that his or her feet are in the dirt."  — Yves Alain Bois and Rosalind Krauss, Formless: A User's Guide Amanda Hamilton's 11 small, new paintings in her exhibition like this at Bethel University grapple with transcendence, despair, and the legacy of Abstract Expressionism through thickly applied layers of gr…