WINTER 2020 -EXHIBITIONS
SCATTERED SHAPES/SPACIAL NARRATIVES
PAINTINGS BY ERIN CROSS
FEBRUARY 7- FEBRUARY 28, 2020 THE BURKHOLDER PROJECT, MAIN GALLERY, LINCOLN NE
First Friday Reception February 7, 5-8pm
EARTHBOUND RIDDLES: ANNE DOVALI AND ERIN CROSS
JANUARY 4-JANUARY 30, 2020 TUGBOAT GALLERY, LINCOLN NE
First Friday Reception January 3, 7-10pm
FALL 2019 -EXHIBITION
LIGHT PRINTS: CYANOTYPES BY ERIN CROSS, MATEL ROKKE, TOAN VUONG
OCTOBER 4 -NOVEMBER 9, 2019 CONSTELLATION STUDIOS, LINCOLN NE
First Friday Reception October 4, 6-8pm Closing Gallery Event Tuesday November 5, 7- 8pm
Light Prints explores the natural intersection of prints and photography as a means to record “outside” information onto paper. Light-sensitive coatings onto paper are exposed with objects or transparencies blocking ultraviolet light leaving a silhouette image that seems to “capture” the moment and the ghost of the object. These artists have used this historic process to record collected objects, the shift of time, and the nostalgia of memorabilia. Cyanotypes are known for the rich Prussian blue of the iron-based inorganic colorant, the first synthetic pigment, and used for blueprints, and in Japanese woodblock prints, suggesting mystery and transience.
SUMMER 2019 CURATOR-
RALL GALLERY’S SUMMER EXHIBITION OF DOANE UNIVERSITY’S ART COLLECTION
PERSISTENCE: A NATIONAL EXHIBITION CELEBRATING WOMEN
JUROR -LORI PRACTICO / MARCH 9 – MARCH 30, 2019
COME FROM AWAY: NEW WORK FROM MY NOVA SCOTIA DISCOVERIES
DECEMBER 6 2018 -JANUARY 6, 2019, RALL GALLERY, CRETE NE
My art is an exploration of various mark making methods through traditional, contemporary and experimental visualizations. I am interested in how far I can push the concept of drawing/painting and what actually constitutes, “a mark.” I translate my visual experiences as a narrative agent producing a lyrical movement and allowing dialogue between line, shape, movement and sound to interact within my various compositions, distorted and highlighted.
Although my work creates a sense of representation and image making through the traditional media, I am focused on the visual intrigue of shape and the memory of its movements. I spend time observing and sketching a subject matter’s pattern of change throughout many days. I consider my compositions, figurative and non-figurative, as narratives. Through direct interaction of the landscape around me, I also collect debris (organic and manmade). Through this collecting, I create mark-marking dialogues of the found objects interacting within various constructions. I often use cyanotypes to create another layer to my compositions. The videos are often experimental and meant to feel raw; a moving sketchbook of directional lines, dots and ever changing marks across a surface. The locations of these sound drawings visualize strong implied lines and shapes. I am also interested in interacting with the moment and how memory is active even in the present.
My exhibition focus’ on drawings explored three ways: drawing through the traditional format of graphite and paper, drawing through the compositionally sculptural constructions of found and created objects and drawings through mental visualizations and guided invisible lines through sound and video.
Although my driftwood drawings create a sense of representation and image making through the traditional graphite media, I am focused on the visual intrigue of shape and the memory of its movements. My subject is a piece of driftwood found and collected off the tidal coast of the Fundy Bay. I spent time observing and sketching its subtle movements on the water and onto the beach, observing its patterns of change throughout many days. The drawings are narratives and reflections of this time spent.
SUMMER 2018 ARTIST RESIDENCY–
MAIN & STATION NONESUCH ARTIST RESIDENCY, PARRSBORO, NOVA SCOTIA