to be leavers, rather than takers 
a curation of work to encourage curiosity and creativity

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STATEMENT

We are not created to consume.
Where there is consumption, there is disconnect. There is ruin. There is chaos. 
Where there is consumption, there can be no curiosity.
Without curiosity, creativity is dead. 
Without creativity, our world cannot sustain.

Consuming is not the essence of who we are.
Our addictive culture allows us to forfeit our power, to substitute the vulnerability of creation for passivity. 

Our ancestors were not consumers.
Their mere existence depended on the constant flow of problem solving and innovation. They built fire in an ice age, with creativity as their life force. As human beings, creating is an integral part of who we are. 

The choice is one we make again and again.

What’s beneath the sugar-coated surface of our consumption? 

OUR INSPIRATION

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CONSUMPTION.  What comes to mind?

Capitalism,  materialism,  climate change,  oh yes.  
But there are so many other subtleties and spaces in between.

How are we conducting our relationships?  
How is our mental state?  
How are we socially?  What about at work?  
What about our screen time, if we were brutally honest?
What is it taking to hold up our facades?
Scrape away all the product labels and sugar coating,
what's beneath the surface?

a nod to Covid:
A deadly illness that spread from person to person through the air via cough and saliva, tuberculosis was the leading cause of death in the U.S. at the turn of the 20th century. The victim’s body would visibly wither and be ‘consumed’ by this illness, most commonly referred to as ‘
consumption’.

We can't help but notice the parallels.  We are artists.  We connect things for a living.

I think most of us would agree, if you want to see something done, and done well, you must create it yourself.  My partner-in-crime Sam Rueter and I have found this to be true at every turn, so far, in our creative journeys, both in the studio and outside.

After these strange and isolating past few years, we were ready for something new.  Something big.  Something that was going to push us right outside of our comfort zones, and then push a little harder.

THE SPACE

There is intention behind every foot of this 2000+ SQFT space.  
From the moment you enter, we want you to be swallowed whole, your world shrunken, fully consumed.  A palette cleanser, so to speak, just as Monet's rounded white room, designed to prime the brain before viewing his famous massive waterlilies at Musee de L'Orangerie in Paris.  

You will be greeted by the original consumption, our modern take on a familiar biblical concept, filled with sarcasm and defiance.
An otherworldly floral installation will closely follow, created by Lori DeNicola, guiding you through a mixed media gallery corridor, ominous and dissonant.  As you wander along through your guided journey, you will spill out into the main crescendo, a life size installation of majesty, extravagence, distaste, and mockery.

Interact, play, take away, leave behind.

We are curating every inch of this experience, from the fabrication, to the soundscape.
We sought out the hands of the most talented and dedicated individuals to help us.

THE WORK

I'm taking risks.  BIG risks.  I'm utilizing the vocabulary I have painstakingly built over the last decade, alone in my studio, and attempting to tell my story, in the most intimate way.

A story that I hope sheds light for others, one that evokes rawness, honesty, ownership, and empowerment. I'm painting what I've seen, but more importantly, what I've felt in my chest and in my skin, in an instant, over a lifetime.
The English language I find limiting. So I paint.


I've been collecting the references for months, years.  Collecting photos, t
aking photos of experiences in real time, in travels, and in mundane moments, and also purposefully staging them as the ideas come.  Collecting imagery is another way of taking notes.  Holding them side by side, rearranging, cropping, swapping, etc, until the voice in my brain screams 'there!'

Then the sketches begin.  Washes of warm tones on the canvas.  Followed by charcoal.
Alternating brushwork and palette knife the whole way.  I am right-handed, but sometimes I notice my left hand throbbing, so I look down and see that I've been grasping 6 different knives and brushes, all between fingers, to have them at the ready, as extensions of me when the right hand calls for them.  

Sometimes I sit across the studio for 20 
minutes and stare and feel profoundly overwhelmed, that all the concepts dancing around my brain are not yet visuals on canvas.  Other times I'm moving so quickly that after 7 hours straight, you could have told me it's only been 45 minutes and I would believe you.  Time is a fleeting concept these days.  Both a frustration for me and a romantic notion, I suppose.

I've never felt imposter syndrome so heavy, I've also never felt so thrilled and accomplished.
The roller coaster has been real.  But I don't actually want to get off at this point. 

Here are some tiny glimpses into my studio at this very moment.
The final work will only be revealed on October 28th.

We cannot wait to show you.

TO THE CONTRIBUTING COLLECTOR:

I hope you understand that you have been vital.  The turbulent emotions that have occurred for us each step of the way, well you are responsible for the highs.  To know that you connect with, and believe in our work thus far, enough to contribute so generously to this next endeavor that you know almost nothing about, well there are no words.  
Thank you is all we've got.  

Your trust is the fuel to this fire.

You're not only supporting our wildest vision and allowing us to bring it to its fullest expression, you are supporting the livelihood, aspirations, and growth of three female artists, business owners, and entrepreneurs.
You are allowing others to gather, formulate a sense of community, and stimulate important conversation.


We will continue to work hard so that your investment in our work will only grow from here.