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Artist Exhibitions:
2007 - Coleman Gallery
Contemporary Art, Albuquerque,
New Mexico, "Accelerate"
[three-person show]
2007 - Underground Gallery,
Santa Fe, New Mexico, "Seeds"
2007 - Farrell Fischoff
Gallery, Santa Fe, New Mexico,
"Inside the Box II"
2007 - Salon Mar Graff,
Tesuque, New Mexico, "Strange
Weeds: The Seed Project"
2007 - Farrell Fischoff
Gallery, Santa Fe, ...
Further Information
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Artist Galleries:
Farrell Fischoff Gallery,
Santa Fe, New Mexico
www.farrellfischoff.com...
Further Information
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Artist Reviews:
Coming Soon!
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Collections:
Public collections -
University of Texas at Tyler,
Art Program Permanent
Collection
...
Further Information
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Commissions:
Coming Soon!
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Artist Statement for Danielle Shelley
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THE MONOTYPES:
Despite my obsession with drawing, I remain at heart a colorist, and my monotypes represent the most spontaneous welling up of color in all of my art. I use brayers and my hands, rather than a press, to transfer ink from the plate to the paper, and I work without preconceived ideas. A series of monotypes usually begins with a color rather than a form.
Printing by hand is somewhat unpredictable, introducing an element of chance that brings out my playfulness. The monotype process also lets me draw in unique ways: I love the distinctive marks that I get by drawing into the ink on the plate, by putting the paper face down on the plate and drawing on the back, by drawing with the edge of the brayer, and even by scratching directly into the ink on the print.
The small size of my monotypes is important to me—they are like little jeweled worlds I can lose myself in.
THE TAI CHI AND LANDSCAPE DRAWINS:
Since 2001, I have been working on a series of abstract ink drawings that investigate motion, stillness, and presence. Some were done while watching people practice tai chi or qi gong; others were created outside in the landscape. This body of work, drawn either with a bamboo pen and “walnut ink” or with black and brown acrylic ink, originally developed out of my difficulties in learning tai chi. Because I see best when I’m drawing, I started bringing pen and paper to class and drawing the more advanced students.
I quickly became enthralled by the questions arising out of this process: What is presence in motion? In stillness? Can the artist be present to another’s movements through a process of sensory empathy? How does that empathy relate to the material realm of paper, pen, and ink?
Later it occurred to me to take my drawing process out into the landscape, and I found myself with many of the same questions: Is there an empathy that can help me experience the way a Port Orford cedar is in the world? The tree is itself, in movement or stillness—I observe—marks are made on paper. When viewers of the drawing look at those marks in the absence of artist and tree, what happens?
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