Sunday, September 29, 2013

A Rose by Any Other Name...or musings about vessels

I waded through the water and climbed into a vessel that would carry me out to deeper water. There, an airborne vessel awaited. I was afraid of flying, so I drank a strange brew from a vessel that was handed to me. Whew, that stuff was strong and packed a wallop. I could feel it spread through my blood vessels from the tips of my toes to the top of my head. I was so goofy I could swear that when I looked at the flower in my lapel, I could see the water flowing through the vessels in it. Then, we hit turbulence. I was close to panicking but thankfully the woman in the seat next to me was a vessel of peace.... 

Heh, heh, heh...please pardon those plays on the word. Just had to get it out of my system.  Here's what says about the word vessel.

ves sel

  1. a craft for traveling on water, now usually one larger than an ordinary rowboat; a ship or boat.

  1. an airship.
  2. a hollow or concave utensil, as a cup, bowl, pitcher, or vase, used for holding liquids or other contents.
  3.  Anatomy, Zoology. a tube or duct, as an artery or vein, containing or conveying blood or some other body fluid.
  4. Botany. a duct formed in the xylem, composed of connected cells that have lost their intervening partitions, that conducts water and mineral nutrients.
  5. a person regarded as a holder or receiver of something, especially something non-material: a vessel of grace; a vessel of wrath.

1250–1300; Middle English  < Anglo-French, Old French vessel, va (i ) ssel  < Latin vāscellum,  equivalent to vās  (see vase) + -cellum diminutive suffix

-Nancy Berlier

This is the final Vessels; All the Eyes Can Hold blog. I hope everyone who read it enjoyed it and learned something interesting about how a simple word can provide so much visual pleasure. Thank you to the talented artists, thank you to the Kennedy Heights Arts Center, and thank you to all those who came to see the show.

Lynn Conaway

P.S. I included some pictures of a few of my vessels.

Wednesday, September 25, 2013

Beautiful and Original Ceramics


I  began working with clay about twenty six years ago. I experimented with different types of clay, but when I came across Porcelain and I fell in love. I like to combine Porcelain with other clays and materials

My mother tongue is Spanish, in this language clay has feminine gender. I see Porcelain as a very difficult, strong minded, temperamental and unforgiving woman; she keeps me on my toes.

I recognize and respect the limits of my control over clay, it always has the final word over the product of my inspiration and its beauty. At the end, I have to humble myself and accept the surprises it gives me.

I go through periods of inspiration, during which I can't stop working; they are like feeding frenzies, burst of energy that leave me exhausted and empty. After these periods, I stop working and collect myself while waiting for the next jolt of productivity.

To me clay is one of the voices of Mother Earth, I'm privilege in being allowed to express my thoughts and feelings though it. For this reason, I pay special attention to the quality of my work; I owe my work this much respect

Why I do what I do? Because, I need to. If I stop, it's like I stop breathing; I suffocate..... So I must go on with my work.





Adriana De Palma

Diatom Bicho




I believe that to be true to my artistic soul, I must be willing to allow the currents of creativity to guide me and that is how this piece, "Heart & Soul", came to be. This sculpture combines the free flow of the abstract with a sense of place for the heart and soul.  As this piece developed it became a vessel for the Heart and Soul.  The spaces are open so that they may be filled, re-filled or overflow with that ever elusive spirit that is our heart and our soul.
Born in the Pacific NW and widely traveled, Boardman’s works have been displayed in galleries, exhibitions and juried shows across the country including “'Thinking Abstractly” at RedTree Café Juried Show  2013; Evendale Juried Fine Art Competition  2013; 120th Annual Juried Women's Art Club Show  2013  (Award winning entry);  Cincinnati Museum Center's Pompeii Juried Art Show; Golden Ticket Clifton Cultural Arts Center Juried Show; Music & Dance Juried Art on the Levee; Secret Art Works- ArtWorks Juried Fundraiser Event; Evendale Juried Fine Art Competition  2012;  119th Annual Juried Women's Art Club Show; and Cold Hands/Warm Hearts Kennedy Arts Center Juried Winter Show. Her work is currently in galleries in Louisville and Bellevue .

Heart and Soul

Nicolin Haines


Enthralled in Relief by Nicolin Haines


Sunday, September 22, 2013

Vessels Made of Cloth and Fiber

I learned to quilt watching my grandmothers and hand-stitched my first quilt when I was eleven years old. Needle arts have always been part of my life.  In 2008 I began making art quilts.  I often work in series and find that to be a wonderful way to experiment, using materials on a small scale to see where they’ll lead.  Sometimes these small pieces become part of a larger quilt, or they might stand on their own.  Working in series allows me the freedom to make mistakes because I know I’ll have another opportunity to make it right, and I find great satisfaction in watching each piece improve and become more focused.  I’ve begun to explore mixed-media in my quilts using paint, metals, old rusted bits and all manner of ephemera as I continue to develop my own style.  I also enjoy making art dolls.  My love of texture and fiber is the driving force of my work. I especially enjoy making art that tells a story, reflects emotions and connects with the viewer on a personal level. 
Carol Lang is an award-winning artist and member of the Contemporary Quilt and Fiber Artists Guild of Cincinnati – having served on the Board in numerous capacities, including as president. She is a founding member of Sculpters’ Night Out. Her work has been widely exhibited regionally. She also teach at local quilt shops and enjoys sharing her love of art quilting with others.

Study # 1 – Vessels (Shells)

I’m intrigued with the lines and shapes observed in natural settings and city architecture.  My abstract designs are influenced by bold lines formed in venerable forests, refined lines flowing in stone and wood grains, complex ice crystals, and unusual shapes formed by stone walls, asymmetric holes in tree trunks, and worn brick walls in old N.E. mills.  Making my first portal was an unconscious process. I later realized that I was seeing them everywhere in nature: in tree trunks, stone walls, stacks of wood, and cracks in ice or pavement. Portals energetically draw me in, wondering what it would feel like to enter and experience the other side. Would it result in a different state of awareness?

My approach is improvisational and my medium is fabric, starting with a general idea, a palette of colors from hand dyed fabric, and a blank design wall. Freely cut lines in cloth blend shape and color into an initial composition. I find this approach intriguing because of the fluid motion created when freely cutting lines and shapes. It is a dynamic approach because the interaction of line, shape and color cause unexpected results that the artist needs to continually respond to.

Biography: My relationship with fabric began at a young age, learning how to follow patterns and sew clothing.  In those early years, I enjoyed sewing and discovered the importance of practice and repetition.  Yet there was always something constraining about making clothing that I didn’t understand at the time, save the realization that I wanted to be more creative with fabric. 

I was drawn to quilting in my adult years and gradually shifted my focus from employing the beautiful patterns made by other quilters to a path of self-discovery: I wanted my quilts to be of my own creation.   This transition has been difficult, emotional but exciting.  My background is not in art.  I had to learn and continue to learn foundational art principles.  I also had to shift my internal beliefs to allow myself the ability to move forward in this endeavor. 

Recently, I moved on from a 30-year professional career to devote myself fully to making contemporary art quilts.  I live with a supportive husband in a country home surrounded by majestic oaks and pines.    Daily walks in the woods inspire my imagination:  light and shadows, natural shapes, seasonal changes, and so many unexpected findings. I’m blessed with a peaceful surrounding and a passionate drive to integrate what I see into my work, and to embrace change.   

Portal #2

My quilts are a reflection of my interest in the people around me and the daily circumstances in which we find ourselves. I am also intrigued by the idea of using the fabrics with which we have long covered ourselves as a means to depict the human form.
Many of my quilts begin with a paper drawing done from a live model sitting which I then interpret using fabric, paint and thread. In my current work, I have been eliminating the paper stage and have been working directly from model to fabric. I am attracted to the immediacy of the process while trying to capture my drawing style. I am also attempting to reflect something intimate about the individual or moment depicted.
Besides my figurative work I enjoy making quilts that are inspired by the colors and messages of the 60’s. These quilts reflect the humorous and nostalgic side of my imagination. Their construction heavily depends on the sewing and quilting techniques that are a fundamental part of quilt making history.
Making quilts satisfies my love of working with fabrics and act of sewing while providing me with way to express myself artistically.
With “Some Days Are Like That,” I was attempting to make a realistic self portrait but found the more I worked on it the more I disliked the results.  Sometimes things are just like that, discombobulated. Cutting the piece up seemed like the only solution. 
Chris Fee is an award-winning fiber artist whose work has been widely exhibited regionally, several states including California, New York, Pennsylvania, Indiana, Kentucky and Tennessee as well as Japan. Her work has been published in several magazines, newspapers and on gallery post cards.

Some Days Are Like That

Fabric is my medium.
My ongoing connection to the tactile quality of fabric and its potential to be transformed into objects both utilitarian and beautiful is undeniable.  My interest in quilting grew out of several decades of garment and home decorator sewing and a desire to preserve my mother’s embroidery work in small quilts and quilted pillows.
Creating quilts for the wall presents opportunities to manipulate color, value, composition, piecing, and machine quilting.  The process satisfies my desire to work in solitude and fulfills my longing to create lasting and beautiful art.
I am passionate about meticulous craftsmanship and obsessed with machine quilting, for it is this phase of the creative process that presents opportunities to add additional layers of character, texture, and structure to the composition.
As my eyes focus less on actual images and more on the infrastructure of my surroundings, my body of work has evolved from a representational to an abstract viewpoint.  Creating fiber art feels most authentic when I consciously work within the limits of fabric and thread.
Though I create art quilts for personal fulfillment, I experience a great sense of satisfaction when my work communicates at some level with the viewer.



Occupation: Artist
Medium: Fiber
Hometown: Oak Harbor, OH
Education: Bachelor of Arts, College of Mount St. Joseph, Cincinnati, OH
Current Residence: Cincinnati, OH
2013  Kennedy Heights Arts Center, Cincinnati, OH – Vessels: All the Eyes Can Hold
2013  Lincoln Center Art Gallery, Fort Collins, CO – New Legacies: Contemporary Art Quilts
2013  Whistler House Museum of Art, Lowell, MA – What’s My Line
2013  Gallery Veronique in The Shops at Harper’s Point, Cincinnati, OH – Material Matters
2013  Carnegie Center for Art & History, New Albany, IN – Form, Not Function
2013  Fitton Center for the Creative Arts, Hamilton, OH – 46th Greater Hamilton Art Exhibition
2013  Zanesville Museum of Art, Zanesville, OH - Superlatives II: Ohio Quilts
2013  Avenue 9 Gallery & Art Guild, Chico, CA - Snow Goose Festival
2012  Schweinfurth Art Center, Auburn, NY - Quilts=Art=Quilts
2012  San Jose Museum of Quilts & Textiles, San Jose, CA - High Fiber Under Five
2012  North Bank Artists Gallery, Vancouver, WA - Strands, 2012
2012  MFA Circle Gallery, Annapolis, MD - Fiber Options: Material Explorations
2012  Rosewood Gallery, Kettering, OH - The View Landscape Competition
2012  Riverworks Gallery, Greenville, SC - Textiles in a Tube 2
2012  Ross Art Museum, Delaware, OH - Celebrating Our Past
2012  Carnegie Center for Art & History, New Albany, IN - Form Not Function
2011  Aullwood Audubon Center, Dayton, OH - Water, Water, Everywhere
2011  Zanesville Museum of Art, Zanesville, OH - Superlatives: Contemporary Ohio Quilts
2011  Kennedy Heights Art Center, Cincinnati, OH - A Celebration of Cincinnati Fiber Artists
2011  Loveland Art Studios, Loveland, OH - Loveland Fiber Art Show
2010  The Carnegie, Covington, KY - A Global Affair featuring Art Quilters Anonymous Mandala Quilt Exhibit
2010  Sigra Gallery, Bellevue, KY - Contemporary Quilt and Fiber Artists Exhibit
2012  to 2005  Cincinnati Nature Center, Cincinnati, OH - Contemporary Quilt and Fiber Artists Quilt   Show
2008  Cincinnati Art Museum, Cincinnati, OH - Solo exhibit in conjunction with antique quilt exhibit of The Shelburne Masterpiece Collection
2009  Nancy Crow, machine quilted Structure #6

Permanent Collections
2011  Zanesville Museum of Art, Zanesville, OH
2013  Fitton Center for the Creative Arts, Hamilton, OH – “Martello #7: Biofeedback,” Honorable Mention
2012  Schweinfurth Memorial Art Center, Auburn, NY - “Martello #5: Liaisons,” Catherine Hastedt Award for Workmanship
2012  Rosewood Gallery, Kettering, OH - “Sgabello #1: Ascent,” Honorable Mention
2010  National Quilt Association, Columbus, OH - “Homage to Herbert,” Third Place Wall – Pieced
2009  Rosewood Gallery, Kettering, OH - “Homage to Herbert,” Merit Award
2009  GHAE, Fitton Center for the Arts, Hamilton, OH - “Homage to Herbert,” Honorable Mention
2009  National Quilt Association, Columbus, OH - “Chromatose,” Honorable Mention
2008  Form Not Function juried exhibit at the Carnegie, New Albany, IN - “Magnolia,” Honorable Mention
2006  Zonta Club Quilts for Change, Cincinnati, OH - “Feathers and Fillers,” 1st Place, Traditional Other
2006  Zonta Club Quilts for Change, Cincinnati, OH - “Free Fall,” 2nd Place Contemporary


2012  Form Not Function juried exhibit at the Carnegie, New Albany, IN - “Fractures #3: Intersections” featured on gallery exhibit postcard
2010  Original Sewing & Quilt Expo 8-City Traveling Tour through 2010 - “Chromatose” and “Redeemed”
2008  Cincinnati Nature Center Quilt Show, Cincinnati, OH - “Homage to Herbert,” Viewer’s Choice Award
2008  Form Not Function juried exhibit at the Carnegie, New Albany, IN - “Magnolia” featured on gallery exhibit postcard
2006  Gallery Salveo, Cincinnati, OH - “Free Fall” featured on gallery exhibit postcard
2013  Studio Art Quilt Associates
2013  to 2003  Contemporary Quilt and Fiber Artists, Cincinnati, OH (secretary, vice-president, president)
2012  to 2010  Art Quilters Anonymous
2011  to 2009  A.R.T. Quilt Group
2011  to 2009  ArtQuiltNetwork
Professional Services
Teacher/Facilitator - Machine Quilting, Technique, and Process Skills Workshops

Judy Shaffer is new to the world of art after a 40-year nursing career and ten years into her retirement. Her first introduction to fiber art came after attending the 2011 National Quilt Show. Subsequently, she purchased a sewing machine and began this completely new journey. Her exploration into the community of fiber art has launched her work into juried and judged exhibits where she has received multiple awards. Additionally, her work is exhibited in the retail setting and is sought after for charitable fund raising. Each of her art pieces are unique as they express her developing interest of methods, styles and supply resources. Judy is an active member of the Cincinnati based “Contemporary Quilt and Fiber Artist” guild and has quickly become an invited fiber art instructor in the retail community.


Terri Wright native of Cincinnati, Ohio has been weaving baskets for nearly 30 years. Learning by taking classes and attending seminars around the country, working with skilled baskets makers in all types of basketry. The medium she likes most is  working with natural materials and  personally harvested barks.
She has been an active member of the  Ohio Valley Basketweavers Guild and participated in the Applachaian Festival in Cincinnati, the Vinkolet wine festival, Winter Fair for many years and numerous local festivals.
She teaches beginners basic basketry, and some more advanced basket classes. Other interests include beading, quilting, doll making, paints, clay and other arts and crafts.
Twill Cat Head



Sunday, September 15, 2013

Mixed Media Yields Fascinating Vessels


What kind of relationships are possible for humans of our electrified culture to share with other beings on our planet?

Non-human organisms may have insights and brain functions more similar to ours’ than we have heretofore believed to be the case. Why do we primates tend to be reflexively xenophobic and insecure in the face of creatures, human and otherwise, that we perceive as Other?

Drawing from research and self observation, I imagine my relocation, my dislocation, relative to plants and animals. I re-examine with drawing from observation, eye to hand rendering, seeking combinations of images and paper surfaces. Occasionally, I add a final finishing touch with tiny beads, shell fragments, and cotton threads.

I am looking for the next image to render, the next path, the next wave, the next
connection. The narrative is non-ending. Discoveries generate new questions which in
turn generate new discoveries.

Although my paper pieces are traditionally framed and hang on walls in a gallery context, they are a departure from other 2-D work. Layers of paper provide a slight relief to the overall surfaces. Objects appear as in a diorama that has compressed almost to two dimensions – or perhaps to the contrary, are thickening forward toward the viewer as layers of paper accumulate.

I use digital means to resize my drawings and manipulate combinations. I begin each work with a specific image configuration in mind, but always experience surprise in the
process as the outcome changes considerably from my start-up idea.

My work can stand alone in an exhibit space, or can complement the work of one or several other artists.
Birch Water Jar

Cadillac, Michigan             
Master of Fine Arts, Michigan State University
Bachelor of Arts, Albion College

Solo Exhibitions:
Saginaw Valley State University, 2012,
“Imagining Context: Seeing and Being Seen”
Alma College, Flora Kirsch Beck Gallery, Alma, Mi, 2012
Grove Gallery, “Papers on Paper”, East Lansing, Mi, 2011
Buckham Gallery, Flint, Michigan, “Paradigms”, 2009
Lansing Art Gallery, “Artist of the Month”, 2008
Lansing Art Gallery, “Collage & Mixed Media”, 2006


International Society of Experimental Artists “Cutting Edge” Award 2011
Ann Arbor Art Center 2011 Annual All Media Third Place Award
President’s and Alumni of Alma College Purchase Award,
Alma College Print Competition 2010
President’s Award, International Society of Experimental Artists Exhibition 2010
Honorable Mention, Ann Arbor Art Center’s 2006 All Media Exhibit
President & Friends of Alma College Purchase Award,
Alma College Print Competition 2006
Merit Award, Ann Arbor Art Center’s 2004 All Media Exhibit
Purchase Award, University of Michigan at Dearborn,

Artist’s Statement | Objects of Recollection
At some point in our life we all experience the loss of a loved one and as a result of that loss, we inherit objects. The objects become keepsakes that function as a memorial due to a virtue of the sentimentality we bestow upon them. We become devoted to the objects as a surrogate and try to preserve them through our carefulness of handling, storage or display. In examining these objects that we memorialize- those that become relics and the fetishist act of revisiting the objects- I fabricate sculptural containers out of found objects and metal that refer to the domestic artifacts. My work operates through the suggested use of quotidian objects and how these entities function as containment for memories.

Artist’s Biography

Katie Rearick graduated from The State University of New York at New Paltz in 2012, with a Master of Fine Arts degree in Metal. In 2008 she received her Bachelor of Fine Arts degree with an emphasis in Metal/Jewelry from Western Michigan University. As a supplement to her formal education, she has also studied at Haystack Mountain School of Crafts and Penland School of Crafts.
Her work ranges from small-scale body adornment to large sculptural installations that utilize personal narrative as a starting point. Notable exhibitions include: Jewelry+Objects Exhibition at the Alden B. Dow Museum of Science and Art of the Midland Center for the Arts, the College Art Association NY Area MFA Exhibition at Hunter College, New York and Fresh: Metalsmith Exhibition in Print at the National Ornamental Metal Museum. She is currently working out of a small studio in her home on Mackinac Island in Michigan and is preparing to move to Cincinnati in the fall to pursue a career in the Arts.
Grandma's Pearls

Deeply rooted in the Midwest, my world is rolling hills, woodlands, creeks, and fields where beauty is found, not in grand vistas but within arms reach.  My inspiration comes from the rich tones, textures and forms of the natural world.  I recognize the undulating surface of the creek, rough texture of limestone outcrops and the ever-changing colors of the woods.  Although I admire and appreciate the garden in it’s entirety, I treasure the seedpod, drying leaf and pebble found on the path.  In the same way, I enjoy creating sculptural forms, but find creating the tactile surface with highly textured handmade paper most gratifying.  Enhancing the play of light and shadow of the surface with layers of color is magical.
My earliest art work using handmade paper explored textured papers and their edges, investigating with the way light and shadow identifies the raised, indented and wrinkled surface.  Twenty-five years later, I am still creating surfaces, which allow light to dance over impressed textures creating highlights and shadows.  Simple structures are often misidentified as leather, ceramic or stone.  Viewers are intrigued by the visual and physical paradox:  the perception of weight and mass versus the reality of paper.
Leandra Spangler’s passion for papermaking began in 1986 when she first plunged her hands in a vat of pulp.  Her desire to present paper in three dimensions lead her to an exploration of basketry techniques.  
After twenty-five years of teaching art in the public schools, Leandra became a full time studio artist in June 2000.  She holds a Master’s in (art) Education from the University of Missouri.  She continues teaching at national, regional and state conferences, art centers, guilds and in her studio.
Spangler’s sculptural forms use traditional basketry techniques but are often pushed in non-traditional ways.  The reed structures are a support for her highly textured handmade paper.  She no longer sees them as “sculptural basketry”  but as “sculptural forms with openings.” 
Spirit Journey


My monoprints represent the psychology and spirituality of men. I begin by collecting hundreds of found images, sorting them with an eye for significant, recurring gestures and poses. These appear in my work as drawings and silhouettes, merging figures and faces to create large, energetic images layered with pattern and color. I am a printmaker who does not make editions, preferring to work through variations on a theme in series of multiple works. This series represents a simple attempt to make a two-dimensional medium three-dimensional and references Greek figure vases.
Biography:  Harold Lohner is an artist, professor and font designer. He holds an MFA in printmaking from the University at Albany and is a Professor in the Visual Arts Department of The Sage Colleges. He has been making and exhibiting his prints and other artworks regionally and nationally since 1978. Lohner also maintains where he presents his
Vessel 5
digital type creations. He is married to Al Martino and lives in Albany, NY.

Harold Lohner 

HAROLD LOHNER                                        777 Western Avenue
Albany, New York 12203
518 435-9548
1982– Professor, Department of Visual Arts, The Sage Colleges, Albany and Troy, NY.
1984    M.F.A. Printmaking, University at Albany, State University of New York.
2011    Harold Lohner: Gathering, Opalka Gallery, Sage College of Albany.
2010    All Eyes, The Arts Center of the Capital Region, Troy, NY.
2008    Harold Lohner, Clatsop Community College Visual Art Center, Astoria, OR.
2013    MEN Online Art Exhibition, Linus Galleries, Pasadena and Long Beach, CA.
Annual Members’ Juried Exhibition, Pyramid Atlantic Art Center, Silver Spring, MD.
2012    Boundless: New Works in Contemporary Printmaking, Creative Arts Workshop, New                                                                     Haven, CT.
2011    Prints U.S.A.2011, Springfield Art Museum, Springfield, MO.
I Have The Right, PICTURE Art Foundation, California State University, Dominguez Hills, Carson, CA.
Couplings, Gallery 110, Seattle, WA.
Positive/Negative 26, Slocumb Galleries, East Tennessee State University, Johnson City, TN.
Gender Matters/Matters of Gender, Freedman Gallery at Albright College, Reading, PA.
2011 The Kinsey Institute 2011 Juried Art Show, Indiana University School of Fine Arts Gallery, Bloomington, IN.
ViewPoints, Aljira, A Center for Contemporary Art, Newark, NJ.
2010    New Directions ’10, Barrett Art Center Galleries, Poughkeepsie, NY
Brainstorm 2010: A Whole New Mind, Governors State University, University Park, IL.
Imprint, Target Gallery, Torpedo Factory Art Center, Alexandria, VA.
Paper in Particular National Exhibition, Columbia College, Columbia, MO.
Janet Turner National Print Competition and Exhibition, University Art Gallery, CSU, Chico, CA.
24th Annual International Juried Show, Visual Arts Center of New Jersey, Summit, NJ.
Diptych/Triptych, Ink Shop Printmaking Center, Ithaca, NY.
2009    Paper Narratives, Abecedarian Gallery, Denver, CO.
Threads, National Queer Cultural Festival, SOMArts, San Francisco, CA.
BookEnds: The Book as Art, Target Gallery, Torpedo Factory Art Center, Alexandria, VA.
Continuum, George Segal Gallery, Montclair State University, Montclair, NJ.
Artists of the Mohawk Hudson Region, University Art Museum, University at Albany.
            Oregon Inkspot Print Exchange, Eastern Oregon University, La Grande, OR.
Monotype Guild of New England National Juried Exhibition, Attleboro Arts Museum,                      Attleboro, MA.
Au Naturel: The Nude in the 21st Century, Clatsop Community College Visual Art Center, Astoria, OR.
2007    27th Annual National Print Exhibition, Artlink, Fort Wayne, IN.
Brand 36: Works on Paper, Brand Library Art Galleries, Glendale, CA.
Light Night 2007, 1og8 Arts Project, Reykjanesby, Iceland.
19th National Printmaking Exhibition, Los Angeles Printmaking Society, CA.
National Portrait Exhibition, Impact Artists’ Gallery, Buffalo, NY.
UMKC National Print Competition 2007, UMKC Gallery of Art, Kansas City, MO.
2006    Gender/Identity, ALL Gallery, New Haven, CT.
Seeing God, Dadian Gallery, Henry Luce III Center for the Arts and Religion, Washington, DC.
Printmaking Currents 2006, Print Arts Northwest, Portland, OR.