STATEMENT
Laura
Moriarty makes process-driven sculpture and works on paper whose forms, colors,
textures and patterns result from the same processes that shape and reshape the
earth: heating and cooling, erosion, subduction, friction, enfolding,
weathering, slippage.
BIOGRAPHY
Born
in Beacon, New York, she received training through an apprenticeship in hand
papermaking (1986-1990), and is otherwise self-taught.
Since
1992, Laura's work has been presented in numerous exhibitions, both nationally
and internationally. Recent solo exhibitions include “Down into the Deep” at
the Aidron Duckworth Museum; the 2016 Governor’s Island Art Fair;
"Intimate Monuments" at OK Harris Works of Art in New York City, and
"Scratched Record" at the Handwerker Gallery at Ithaca College.
Recent
group exhibitions include “A Strategraphic Fiction” Curated by Ginny Kollak,
The Philip and Muriel Berman Museum of Art, Ursinus College, Collegeville,
Pennsylvania; “Geomagic: Art, Science and the Zuhl Collection”, New Mexico
State University, Las Cruces, New Mexico; ”Empire of
Dirt”, Curated by Anonda Bell, the Paul Robeson Galleries at Rutgers
University; "Translating Earth, Transforming Sea”, Curated by Andrea
Packard, the Walton Arts Center in Fayetteville, Arkansas; and "Field
Notes: Revisions" at the Jyväskylä Art Museum in Finland. Moriarty's work
is held in many permanent collections, including The New
York Public Library; the Pacific Grove Museum of Natural History; Memorial
Sloan Kettering; the Progressive Art Collection; The Samuel Dorsky Museum of
Art; and The Robert B. Haas Family Arts Library at Yale University.
Laura’s
honors include an Individual Support Grant from the Adolph & Esther Gottlieb
Foundation (2016), a residency at the Baer Art Center in North Iceland (2016),
a Vermont Studio Center Fellowship (2015), two Pollock-Krasner Foundation
Grants (2007, 1997), a Frans Masereel Center Residency, Belgium (2004, 2000),
and Ucross Foundation Residency (1996). Laura was a participant in MARK’09,
NYFA’s competitive statewide program for visual artists.
Her
work has been reviewed and featured in The New York Times, Beautiful Decay
Magazine, Artillery Magazine, New Art Examiner and The Plain Dealer, among
others. She is the author of an artist’s book, 'Table of
Contents', self-published in 2012.
 |
"Tableau",
2018/2019 Pigmented beeswax, black sand, metallic pigment, powder charcoal,
approximately 40 x 60 inches overall (12
sculptural elements displayed on a pedestal)
Pink Snow Bloom, 2020, Encaustic and colored pencil on paper, 80 x 39 inches
A Unitary Phenomenon, 2020, Encaustic and colored pencil on paper, 84 x 44 inches
No comments:
Post a Comment