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One Nest : Earthworks Individual Artwork Statements

One Nest: Earthworks

Elizabeth Addison & Vicki Gunter 

Presented by: One Nest Art and Abrams Claghorn Gallery 

One Nest Exhibition Statement

            "One Nest” investigates balancing what is good for human beings with what is beneficial for other species and the planet – our one nest, our only home, and a shared one. Recognizing that all life and ecosystems on our planet are deeply intertwined, we share these impressions in clay, ink and light.

            We believe in art as agency for change. Artists, historically, have been both witnesses and the raw material for envisioning the future in challenging and critical times. These ARE critical times. It is critical that we do our art. It is critical to make the peaceful revolutionary changes that allow the world to repair. Look closer with us and you will find beauty and agency, even in the shadows. ~Elizabeth Addison & Vicki Gunter

 

About the Project

Our paths criss-crossed over the years, but a chance meeting at The David Brower Center’s 10th anniversary party ignited a creative collaboration. Soon after, we began meeting for coffee. We excitedly discussed how our artwork intersects while also acknowledging our dangerous times and the challenges they present. Most of the work and planning for One Nest was created during the pandemic.

            Both of our creative practices are inspired by nature, its beauty and no-waste complexity. We also discovered that both of our practices dwell at the nexus of art and scientific inquiry and that science is a shared passion. From 1950 to the present our planet’s destruction has escalated. We feel a deep urgency to address the rights of nature and social justice for all. Environmental degradation has reached a crescendo with the Trump administration dismantling environmental protections, erasing science, and fomenting deep divisions. This is where our creative paths converge and why we envisioned “One Nest.”

            Not only are we visual artists, we are both storytellers and seekers. The art of “One Nest” envisions Planet Earth as a living being emphasizing that ecosystems – including trees, animals, mountains, our waters and atmosphere – have rights just as human beings do. ~Elizabeth Addison & Vicki Gunter

 

Bios

  Elizabeth Addison’s practice encompasses printmaking, painting, digital media, and immersive installation. She daily records images on her walks and transforms them into Mandalas of ‘the one… the universe.’

   Vicki Gunter is a clay artist who loves turning clay to stone. Her award-winning sculptures are inspired by the knowledge that everything comes from the ‘clay’ of the earth.

            Both women’s work is included in numerous private and public collections and they have exhibited extensively throughout the west coast and nationally. Their work ranges from examining California’s native flora, invasive species, and DNA to Black Lives Matter, the climate crisis, and environmental equity.

 

ACG Gallery Statement (Robert Abrams)

Experience the lush worlds of One Nest: Earthworks in person at Abrams Claghorn Gallery or online. Elizabeth Addison and Vicki Gunter paired their individual artwork to create eleven narrative installations in clay, ink and light. Addison and Gunter’s individual works – sculpture, digital assemblage and painting – are compelling in their own right. Grouped, the artwork transforms into storytelling presences – evoking nature’s power, its beauty and no-waste complexity.

One Nest: Earthworks, envisioned by Addison and Gunter during the Covin-19 pandemic and Black Lives Matter, sheds light on their personal and observed narratives surrounding our planet’s struggles. Addison & Gunter’s visual narratives envision Planet Earth as a living being emphasizing that all life and ecosystems on our planet are deeply intertwined and that the Planet has rights just as human beings do. One Nest: Earthworks acknowledges that although we live in challenging times, it is not out of our reach to attainenvironmental equity and to restore the dignity of Planet Earth – our only home, our one nest. ~Robert Abrams

 

 

VICKI GUNTER series statements

 

…In Everything Series

All living things store a genetic recipe using the same DNA molecules. They are …In Everything. This genetic code of molecules is evidence of the shared ancestry of ALL living things. Each piece in the series transforms into a DNA helix in unique ways. Can you find them?

 

Canary & Elephant Series

Backpacking as a child in the high sierras, I was separated from my parents and I thought, hopelessly lost, because of stopping to delight in and examine the thousands of Mountain Yellow-Legged frogs. This series was born when I learned that 95% of them have disappeared. Amphibians are dying in massive numbers all over the world. A scientist seeking causes and solutions said, “…yes, they are like the canary-in-the-coal-mine”. Each piece in the series includes a yellow, cautionary canary alerting us to different social and ecojustice issues. The challenge is, the BIG choices we need to make to remove the profit-driven, corporate Elephants-in-the-Room.

 

New Era Series

The New Era Series began with my piece, Baby Names 1955-2020. The 44 names on the piece begin with Emmett Till whose 1955 murder sparked the civil rights movement.  The 44th victim is George Floyd. His family wearing white to his funeral, said, “This is NOT an end, but a New Era!” 

 

Clay has a memory. It records your fingerprints and all the ways you held it in your hands. Our earth has a memory and responds to our manipulations. My work in clay draws from the knowledge that everything…us, our food, home, clothes, tools, toys all come from the ‘clay’ of the earth. My hope is, that we will seek solutions in nature-based knowledge to grow, gather, love & consume leaving the smallest fingerprint.

 

ELIZABETH ADDISON series statements

 

Pandemania Days

Since the first mandated shelter in place day, March 17, 2020, I have publicly posted my “Daily Practice—Visual Journal” digital mandalas to document the pandemic as I experience it. Titled “Pandemania Days,” these daily artworks respond directly to nature and the environment, COVID-19, sheltering, politics, civil uprising, and institutional racism. Each daily mandala is inspired – and created from – a photograph taken that day and accompanied by a written journal entry. My intention is to be a curious observer in a journalistic fashion while also being authentic to my inner state.

 

Daily Practice – A Visual Journal

“Daily Practice – Visual Journal” is an outgrowth of The January Mandala Project, facilitated by friend and artist colleague, Judy Shintani. Since January 1, 2018, I have created a unique, meditative artwork each day. These works respond to real-time happenings, political or social issues, my inner life and observations. Daily Practice Mandala works are intentionally petite in scale. This series includes original monoprints, dimensional collages, mixed media and digital creations. Many are the rebirth of failed, older or incomplete works, giving them a new life.

 

Digital Assemblage

In the 1980’s, I was an early adopter of digital graphics and arts. Computer-based imagery was an important part of my creative life, especially during my advertising career. When I finally had time to devote to my fine art practice, I wanted it to be wholly analog and I resisted creating computer-generated art for many years. When I left advertising, I was eager to use my hands and I yearned for a break from the digital world which felt restrictive, limiting in expression and inauthentic. In recent years, with new tools, I reintegrated digital techniques back into my creative practice. I toggle back and forth between analog and digital processes and often blend the two. These inherently different approaches often inform each other and stretch the limits my vision–technically and metaphorically. Like my analog works, these digital assemblages are constructions. They are built with my own unique images and contain multiple layers that bury and reveal imagery, texture and data – a process that gives me the freedom to be artist, storyteller, and experimenter simultaneously. 

 

Painting and Printmaking

Printmaking has been the bedrock of my practice. During the COVID-19 pandemic, traditional printmaking hasn’t been readily available so I returned to – and leaned into – painting and digital constructions. All of these processes encourage me to be both artist and experimenter. Regardless of medium, I build my works with multiple layers that bury and reveal imagery, texture and data. Each project involves inquiry and research, satisfying my inner scientist. My process is also playfully experimental and includes unique techniques such as Paper Litho and sculptural printmaking – both of which I adapted into signature methods.

 

Installation

I am particularly satisfied with my long relationship with SOMArts annual Día De Los Muertos Exhibition, curated by René Yañez and his son, Rio. For almost two decades I have created immersive installations investigating miracles, greed, the environment, myth, gentrification, and goddesses. This yearly event has been a touchstone.

 

~ ~ ~ ~

 

Pricing & Statements for Individual Artworks

 

PAIRING 1 – ONE NEST

 

Vicki Gunter

One Nest, Canary & Elephant Series

Ceramic (clay, stains, underglaze, glaze, beeswax, plastic grocery ties), 9 x 15 x 15 inches, 2019

$2500

 

I love birds…They thrill me when they visit my garden of native plants, that attract the insects that thrill them. While writing this statement I spotted 16 species including some with fledglings.

 

They won’t all make-it. They have to survive the gauntlet of feral cats, pesticides in neighbors’ yards leaching into the creek, and of course lack of habitat to build the next nest. Let’s plant more native plants to attract the most critical bird-baby-food⏤ yummy soft caterpillars! The entire food web depends on insects for all those who eat.

 

One Nest has been simmering in my mind for years. My first image formed upon hearing of the Yemen famine in 2017 & the UN warning in 2018 that 13 million people there faced starvation in “the worst famine in the world in 100 years.” The final sculpture expanded to a larger worldview to imply all species and how we sustain ourselves. Yes, this piece is shaped like a STOP sign!

 

Elizabeth Addison

Mandala 092420, Pandemania Day 192 - Brittle Beauty

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 16 x 16 inches (18 x 18 inches framed), 2020

$600 framed

or

16 x 16 inches, $350 unframed, available special order

 

"Pandemania Day 192, Brittle Beauty - Mandala 092420." Thursday. The smells, colors, sounds and sensations of California Autumn are everywhere. A quiet solo walk was grounding after two "crunched" weeks and disturbing news. Drying, translucent flora filtered beams of light. Note: Each Pandemania Series Mandala is accompanied by a journal entry that serves as its statement.

 

PAIRING 2 – TANGLED EMBRACE

 

Vicki Gunter

Mother Nature, Canary & Elephant Series

Ceramic (clay, wood, underglaze, stains, glaze, art wax, ice cubes), 19 x 17 x 12 inches, 2017. Subtly kinetic, the ice melts as tears onto earth held in her arms. 

$5000

 

Mother Nature, depicted as African, represents our common origins. Her hair is entwined with African flowers & fish, prehistoric gingko leaves, stars, seaweed & a yellow cautionary canary. Earth, in Mother Nature’s arms — the Sanctuary for all known life. Subtly kinetic, tears fall from her eyes to earth, as ice slowly melts.

 

Elizabeth Addison

Mandala 080120, Pandemania Day 138 - Mixed Greens

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 15 x 15 inches (16 x 16 inches framed), 2020

$550 framed

or

16 x 16 inches, $350 unframed, available special order

 

"Pandemania Day 138, Mixed Greens - Mandala 080120." Saturday, the first day of August, 2020. Today feels like a page in a book that I "flipped" by while scanning for interesting pictures. Mixed communities of growing things are happily populating my garden patches. The mélange of textures, colors and forms make everything more beautiful. Note: Each Pandemania Series Mandala is accompanied by a journal entry that serves as its statement.

 

Elizabeth Addison

Mandala 092620, Pandemania Day194 - Requa Tangles

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 15 x 15 inches (16 x 16 inches framed), 2020

$550 framed

or

16 x 16 inches, $350 unframed, available special order

 

"Pandemania Day 194, Requa Tangles - Mandala 092620." Saturday. We finally took our postponed drive to the Northern California Coast. Previous plans were scrapped due to firestorms up and down the state and red flag warnings at home. Wherever possible, alternate and wooded roadways were the chosen routes. I could feel layers of anxiety peel away with each mile. We knew and sensed the massive fires, but offshore winds blew smoke inland across the continent and across the Atlantic, leaving clear blue above. A naturally wrinkled, curly-limbed shrub welcomed us upon arrival. Note: Each Pandemania Series Mandala is accompanied by a journal entry that serves as its statement.

 

PAIRING 3 – IN EVERYTHING

 

Vicki Gunter

Thirsty Tiger …In Everything Series

Ceramic (clay, underglaze, stains, glass, copper, beeswax), 36 x 23 x 23 inches, 2019

$3100

 

This piece is based on a childhood backpacking memory. I knelt with family, drank from a cool, clean Sierra stream & saw my first Tiger Lily. I was amazed! I was the Tiger Lily! I was the stream! My childhood face of awe peeks from a petal’s past in the sculpture. And in that past my daddy called me Tiger. There are three DNA helixes in this piece. Today we can’t drink from those streams. Tomorrow?

 

Elizabeth Addison

Mandala 040120, Pandemania Day 16 - April Fools

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 16 x 16 inches, 2020

$350 unframed

 

"Pandemania Day 16, April Fools-Mandala 040120." Wednesday. Another gorgeous day in a strange paradise. Gregory John Wardand I walked Cesar Chavez Park shoreline and I assisted with a photoshoot. I'm seeing more masks and experiencing genuine courtesy and distanced friendliness. It is wildflower season. Maskless and partying, blooms' splash the shoreline with color. No foolin' on April Fools :) Today’s mandala is inspired by California’s iconic wild poppy. Note: Each Pandemania Series Mandala is accompanied by a journal entry that serves as its statement.

 

Elizabeth Addison

Mandala 071219, The Float

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 16 x 16 inches, 2019

$350 unframed

 

Created the summer prior to the pandemic, Mandala 071219, The Float is an ode to the Smith River. Located in Northern California, it is the last wild and undammed river in the state. My brother-in-law and his wife are environmentalists and co-founders of the Smith River Alliance and contributed to keeping this majestic waterway free and clean. Each summer, my family meets up at The Smith River Alliance’s teaching campus, Rock Creek Ranch, on the South Fork of the river. We spend a lot of time in and on the water. It’s turquoise hues and clarity are like nowhere else…

 

PAIRING 4 - GOLDEN

 

Vicki Gunter

Our Poppy 2 …In Everything Series

Ceramic (paper clay, underglaze, stains, glass, beeswax), 21x 21 x 7 inches, 2020

$2000

 

Our Poppy was the first native flower piece I created 7x’s natural size. After creating pieces for years about the urgency of our environmental crisis I wanted to focus on the native beauty in our world, reasons we’re compelled to defend it. I picked a California native poppy from my garden. I discovered Quail like Poppy seeds too and painted one on the back of a petal.

 

I measured its petals and discovered that the two bottom petals are actually slightly larger than the two top petals and act as supports. Sitting in the garden the bees made me realize the obvious natural finish for the flower…beeswax! Clay bumblebee beads & hanging wire support this piece for wall hanging. The center pistil twists into a DNA helix.

 

Elizabeth Addison

Mandala 041820, Pandemania Day 33 - Golden

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 24 x 24 inches, 2020

$650 unframed

 

"Pandemania Day 33, Golden-Mandala 041820." Saturday. Fog yielded to sunshine and back again several times. Berkeley's blooms rotate throughout the year. It makes even familiar walks feel new. There's a neighborhood house that seems proud of its neglect. There's always a missing pane and the shutters sag and fall. I marvel that the house is still standing. It is gilt with prolific, golden Rhododendrons. Note: Each Pandemania Series Mandala is accompanied by a journal entry that serves as its statement.

 

PAIRING 5 – OPEN SPACES

Vicki Gunter

Manzanita Sky …In Everything Series

Ceramic (recycled clay, stains, underglaze, lichen, beeswax), 26 x 36 x 6.5 inches, 2017

$2500

 

Manzanita means Little Apple and Arctostaphylos means Bear Berry. One of our most beautiful native plants, Manzanita is also nourishing & healing. I have caressed the wonderfully smooth bark of some special Manzanitas for 50 years on trails in the Oakland hills. Look closely at Manzanita Sky, can you see the DNA helixes on some of the branch tips!

 

Elizabeth Addison

Mandala 031719, Open Spaces

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 16 x 16 inches, 2019

$350 unframed

 

Open Spaces is inspired by a day spent off-grid in New Almaden. This beautiful property is only accessible by foot or electric all-terrain vehicle. It belongs to a friend and NCWCA board colleague. Prior to the pandemic, she and her husband spent occasional weekends on the land. Since the pandemic, they have made it their home. 

 

PAIRING 6 – TAPPED OPULENCE

 

Vicki Gunter

Tapped Out, Canary & Elephant Series

Ceramic (paper clay, underglaze, stains, glaze, rope, brass, ice cubes), 54 x 13 6 inches, 2015. Ice melts down glacier into oil filled tumbler below, $2600

 

When I was 8 or 9 years old, I was the youngest person to sign the ledger at the 11,548-foot summit of Mt Conness in Yosemite National Park. I followed footsteps chopped across its frighteningly steep beautiful glacier.

The future is bleak for Yosemite's glaciers. They have receded 80% in the past 140 years. I have personally seen a dramatic difference in my lifetime.

 

Due to Climate Change Conness Glacier (one of California’s largest) is now melting so fast, it's likely to be gone in 5 or 10 years.

 

We Californians have counted on a third of our drinking water coming from the Sierra snowpack.

 

Melting Glaciers = Canary in the Coal Mine for Earth.

Fossil Fuels + Corporate Profit = Elephant in the Room.

 

Elizabeth Addison

Mandala 010520, Opulent

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 24 x 24 inches, 2020

$650 unframed

 

During the wet months, The Berkeley Hills bloom with varied, opulent Fungii. This mandala honors these ancient organisms and its relatives in the eukaryotic kingdom. It was created just as news of COVID-19 was reaching our consciousness. I didn’t imagine that the virus would affect us personally or become a pandemic. I took my daily life for granted. 

 

PAIRING 7- INTELLIGENT STRUCTURES

 

Vicki Gunter

Wild Iris …In Everything Series

Ceramic (clay, underglaze, stains, beeswax), 13 x 17 x 15 inches, 2020

$2500

While hiking in East Bay Regional Parks the pizazz of this native Iris captured me and caused a departure from my usual color palette. I also departed from my usual slab built technique to working solid, hollowing out and reassembling. This allowed me to push the clay into the arc of leaves and meeting of earth and sky. Seven times its natural size in clay, it is also inscribed with several DNA helixes.

 

Elizabeth Addison

Mandala 011220, Intelligent Structures

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 24 x 24 inches, 2020

$650 unframed

 

Created two months prior to COVID-19 affecting our local daily lives with a shelter-in-place order and a growing death count, this mandala is celebrates natural patterns and the consistency in nature’s forms. Tilden Park was a wonderland of Fungii in January 2020, each variety presenting startling color and construction. I wondered if it could be a language, waiting to be interpreted.

 

PAIRING 8 – FAREWELL TO SPRING

 

Vicki Gunter

Farewell to Spring …In Everything Series

Ceramic (clay, underglaze, glaze, beeswax, encaustic, wire), 19 x 26 x 10 inches, 2019

$2500

 

Farewell to Spring is dedicated to my dear friend & fellow dancer Marnie Anderson. Our last conversation had to be simple. I asked, “What is your favorite color?” She said “Purple”. I asked what are your favorite flowers and she said “Too hard”. So, I asked, “What color are your favorite flowers?” “Purple” Via my cell I took her for a walk and we saw these  purplish California natives: Clarkia (common name Farewell to Spring), a spray of Lupine & Violet. All 7 times normal size, the Clarkia pistil twists into a DNA helix. I told Marnie I would make this sculpture so she would always be remembered.

 

Elizabeth Addison

Mandala 040819, The Bright Underbelly

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 16 x 16 inches, 2019

$350 unframed

 

One of my earliest digital mandala’s, The Bright Underbelly heralds spring at its height. It’s inspired by the ceanothus’ hard-to-reproduce blue hue. A west coast native plant, it’s also known as the California lilac or soap bush.

 

Elizabeth Addison

Mandala 041020, Pandemania Day 25 - Recursive Blooming

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 16 x 16 inches, 2019

$350 unframed

 

"Pandemania Day 25, Recursive Blooming-Mandala 041020." Good Friday. Another busy day within the house. I met on of my daughter’s at Safeway. We had a distanced shopping experience and she received her homemade Matzo Ball soup. The Safeway line moved quickly. We hopped from one red square to the next like a board game. Yesterday, I photographed a bulging iris bud and it was on my mind all day. It looked like a cocoon ready to burst. I could almost see it writhe and twist. On my late afternoon walk, I rushed to find it. It was fully open. I wonder if it would have been possible to witness its unfolding… Today’s mandala revisited yesterday's iris bud images in an attempt to chase the mystery. Note: Each Pandemania Series Mandala is accompanied by a journal entry that serves as its statement.

 

PAIRING 9 - WATERS

 

Elizabeth Addison

Mandala 072720, Pandemania Day 133 - Buck Creek

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 16 x 16 inches, 2019

$350 unframed

or

36 x 36 inches,

 

"Pandemania Day 133, Buck Creek - Mandala 072720." Monday. My daughter and her bf are the first to leave our slice of paradise. We waived them off and prepped for a hike to Buck Creek. The trail dips deeply into a wooded canyon. As we entered the wilderness two backpackers were exiting. Surprised to see us, they pulled shirts over their faces with apologies. To each other they murmured, “Reality check, we’re back to masks and politics.” At our waterfall destination, we splashed in champagne pools and scrabbled barefooted over carpeted, velvet soft, mossy rocks. Our trail exit had a reality check, too. An agitated rattler was unwilling to let us pass. My brother-in-law cajoled it with prayers and praise. My husband took flattering photos. After gently tossing pebbles and dust, and what seemed an eternity, we resorted to a six-foot stick. The rattler was coiled, ready to strike and hissed to us, “just this one time,” and disappeared into a fern-covered seep. Perfection.

 

Elizabeth Addison

Mandala 072520, Pandemania Day 131 – Float 2020 

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 16 x 16 inches, 2019

$350 unframed

 

"Pandemania Day 131, The Float 2020 - Mandala 072520." Saturday. Avoiding weekend tourists–we’re not tourists, of course!–my family opted for the annual river float. We began a fair distance upstream and body floated, including rock scrambling and riffle shooting, back to the ranch. Kingfishers shot through the perfect blue overhead. Sparkling waters carry us downriver. Two hours or so later we pull ourselves back onto terra firma. We are a bit sad to leave clear, untroubled waters.

 

Elizabeth Addison

Mandala 072820, Pandemania Day 134 - Engraving Memories 

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 36 x 36 inches, 2020

$1500 unframed

or

16 x 16 inches, $350 unframed

 

"Pandemania Day 134, Engraving Memories - Mandala 072820." Tuesday. I’m an early riser, fully engaging in the remaining hours before journeying home. My family established new routines just in time to pack up and leave. I intend to carry the spirit of our experience home. I hope forest bathing and river immersions have long lasting effects. The cabin must be cleaned and left vacant for two-days before the next group, per Smith River Alliance Covid 19 regulations. The cleaning person arrived prior to departure and entered with excited chatter. She told us that she was a bit late because of houseguests. Dozens are staying with her for a big celebration of her 25th anniversary. “Congratulations!” I offered, but my heart skipped a beat and I opened all the doors and windows.

 

Vicki Gunter

Cosmic Ocean …In Everything Series

Ceramic (clay, underglazes, stains, glaze, sand), 15.5 x 12 x 12 inches, 2020

$3000

 

When fellow artist Elizabeth invited me to sculpt mandalas, translation = The Universe, The One...The Many. That clicked. Welcome to Cosmic Ocean. All living things on Earth store a genetic recipe using the same DNA molecules from the star stuff of the cosmos and our oceans. DNA helixes twist on Cosmic Ocean's waves and pedestal. This piece is coil plus slab built and wheel thrown.

 

PAIRING 10 – OUR GARDENS

 

Vicki Gunter

Western Columbine, Aquilegia Formosa …In Everything Series

Ceramic (clay, underglazes, stains, beeswax), 17 x 18 x 17 inches, 2017

$1500

 

The crazy form and color of Western Columbine-Aquilegia formosa makes it a California favorite. This one is based on one in my garden. They are part of our native inspirational beauty. Magnified 7x’s natural size in clay to attract you to the value of our native plants. When the Columbine’s long red petals swell with golden nectar the hummingbird slides its long beak and tongue inside, and voila, sexy pollination! The Aquilegia’s stem twists into a DNA helix for you to find.

 

Elizabeth Addison

Mandala 070820, Pandemania Day 114 - Recursive Forms II

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 16 x 16 inches, 2020

$350 unframed

 

"Pandemania Day 114, Recursive Forms II - Mandala 070820." Wednesday. I'm in the beginning stages of a new "creative investigation" project. My creative passion plays out in integrating science and the creative arts. I’m enjoying the research. Believe the science!

"…forms and shapes found in nature exhibit some form of self-similarity; the larger form appears to contain smaller copies of itself at different scales. Examples abound in the plant world; we see it also in mountains, clouds, the branching structure of rivers and blood vessels, patterns on animal skins, etc. Nature imposes restrictions on growth rules, but that doesn't mean that the artist needs to." (Recursion in Nature, Mathematics and Art, Anne M. Burns, Department of Mathematics, Long Island University) Note: Each Pandemania Series Mandala is accompanied by a journal entry that serves as its statement.

 

Elizabeth Addison

Mandala 081420, Pandemania Day 151 – Scream

"Pandemania Day 151, Scream - Mandala 081420." Friday. It's hot, hotter still. Drought and heat-tolerant flora screams color and defiance. Regardless, this is another aspect of "not normal" times. Note: Each Pandemania Series Mandala is accompanied by a journal entry that serves as its statement.

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 16 x 16 inches, 2020

$350 unframed

 

Elizabeth Addison

Mandala 080320, Pandemania Day 140 - Capillary Action II

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 16 x 16 inches, 2020

$350 unframed

 

"Pandemania Day 140, Capillary Action II - Mandala 080320." Monday. The Governor's daily briefing laid out the coronavirus disaster that was July in California… and elsewhere. We are the first state to exceed 1/2 million confirmed cases. Family gatherings, backyard dinners, and other social gatherings seem to play a role - transmission keeps branching outward. With blue skies, wild blooming things and unaffected wildlife, this feels dissonant. Today's mandala is inspired by my hydrangea's multi-toned leaves' capillary structure. Note: Each Pandemania Series Mandala is accompanied by a journal entry that serves as its statement.

 

PAIRING 11 - BREATH

 

Vicki Gunter

Baby Names 1955-2020, New Era Series

Ceramic (paper clay, underglaze, stains, glaze), 20 x 27 x 5.5 inches, 2020

$3020

 

Clay is slow and fragile, then stone. Change is slow and fragile then inevitable. Art feels urgent in these precarious, revolutionary times. Say their names. Stay safe.

 

I could only fit 44 names on this piece. Sadly, you know there are many more black lives taken. My list begins with Emmett Till, whose murder in 1955 sparked the civil rights movement. The last name on this list is George Floyd. I chose white as my primary palette because George Floyd’s family wore white to his funeral saying this was “not an end, but a new era!” I also chose the yellow of the cautionary canary, still alerting us. DNA is inscribed on the blooming rose. Vicki

 

Elizabeth Addison

Mandala 122620, Pandemania Day 285 – Capsule

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 16 x 16 inches, 2020

$580 framed

or

16 x 16 inches, $350 unframed, available special order

 

“Pandemania Day 285 – Capsule, Mandala 122620.” Saturday, Boxing Day was originally a holiday to give gifts to poor. These days, it’s primarily a shopping holiday in the UK, New Zealand, Australia, and Trinidad and Tobago. Today was bright and sunny so we walked with a purpose – to retrieve a library book on hold. It was almost five miles round trip and took us along new routes. Gardens and flora glistened from yesterday’s rain. Today’s mandala is inspired by large spikey, milkweed seed pods. Most were empty but a few still had seeds escaping their packaging on silken parachutes. Note: Each Pandemania Series Mandala is accompanied by a journal entry that serves as its statement.

 

Elizabeth Addison

Mandala 081020, Pandemania Day 147 - Palette Inspiration

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 16 x 16 inches, 2020

or

$580 frame16 x 16 inches, $350 unframed, available special order

 

"Pandemania Day 147, Respite - Palette Inspiration 081020." Monday. Nature handed me a new palette. Colors appeared uncannily vibrant as the fog rolled in and the forms felt fleshy, full of presence. Note: Each Pandemania Series Mandala is accompanied by a journal entry that serves as its statement.

 

Elizabeth Addison

Mandala 092920, Pandemania Day 197 - Decurrent Gills

Digital assemblage, Archival digital print on Moab Entrada Rag Bright, 16 x 16 inches (17 x 17 inches framed), 2020

$580 framed

or

$580 frame16 x 16 inches, $350 unframed, available special order

 

"Pandemania Day 197, - Decurrent Gills, Mandala 092920." Tuesday, catch up day. I day-dreamed about forests that meet the sea while putting the finishing touches on my new website and prepping for two big Zoom events. My stepdaughter, Tess Larson, is a fungi enthusiast. During our forest walk in Requa last weekend, she pointed out myriad mycological wonders–fungi communicate with each other and their gills tell stories. One of the Coast Trail trees was festooned with Oyster mushrooms. They glowed in afternoon sun dapples. We appreciated without taking. Note: Each Pandemania Series Mandala is accompanied by a journal entry that serves as its statement.

 

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Elizabeth Addison’s Digital Prints available in 4 sizes:

These archival digital works are printed on Moab Entrada Rag Bright 300

 

10 x 10 inches         $125  

16 x 16 inches         $350  

24 x 24 inches         $650

36 x 36 inches         $1500