Teaming up with the Forward Union Fair 2017 to host a This Is Not A Gun event in Manhattan December 3, 12-3 pm.  COME!

This Is Not A Gun

A participatory ceramic workshop during Forward Union Fair

Sunday, December 3, 2017


714 Broadway, Manhattan, NY

Free and open to the public.

A sandwich is not a gun.

A hairbrush is not a gun.

A wallet is not a gun.

These items come from a list of 23 objects that have been mistaken for guns by police officers in civilian shootings since 2001*. The workshop encourages participants to give presence to these objects, calling attention to their not-gun-ness by sculpting their shape in clay. This Is Not A Gun endeavors to carve out time and space to site these issues within our own bodies and stories, without presuming a total understanding of this historically dense and complicated crisis. This gathering upholds a non-judgemental space for sharing amongst anyone who participates. The space is held by local artists, activists and mindfulness collaborators.

Please join us in an effort to honor and unpack what is before us through a collaborative art-making workshop and dialogue.

All materials are provided. Drop-ins are welcome, though we encourage you to stay a while.

Proudly co-hosted by Cara Emily Levine, Jade Thacker, and Forward Union Fair.

This is the third iteration of this event. The first workshop took place at the Tenderloin Museum in San Francisco, CA on March 30, 2017. The second workshop took place at Santa Fe Art Institute on October 7, 2017. Sincere gratitude to Forward Union Fair, Christopher Johnson, Adams Puryear, New Mexicans to Prevent Gun Violence, form & concept gallery, Santa Fe Community College, New Mexico Clay, Pete Jackson, Alicia Inez Guzmán, 100 Days of Action, Amanda Jane Eicher, Keren Johnson, and the Women’s Center for Creative Work.


*Harpers Magazine Dec 2016






We'll Call It A Boat, Project Grow Portland

After 2 months in residence at Project Grow, part of Port City and Albertina Kerr, in Portland Oregon, we will exhibit the work that has been made.  We have worked through an improvisational manner to construct, carve and paint multiple sculptures in true collaborative form.  The work will be on view after March 10 with a public reception Friday March 10 1-3pm at Port City, Portland.

At A Distance, Shift Space Gallery, Kansas State University, Feb 24 - Mar 11

Happy to announce, a new work made in collaboration with Michael Namkung will be in a show at Shift Space Gallery at Kansas State University.  

Michael and I have been making collaborative video work over the last 6 months.  This work has dealt primarily with ideas of connection, perceptivity and closeness - but always at a distance.  In conceiving this piece, we became interested in locating where the exact middle point between our two locations existed.  Lo and behold, it was under 100 miles from the gallery hosting this exhibition.  Together, Michael and I conceived of this piece, The View from The Middle which enacts meeting exactly in the middle, only through the bodies of two surrogates from the Kansas State Gallery.  The completed work will be on display Feb 24 - Mar 11 2017

Curated by Jesse Allen, Conan Y. Fugit, and A. P. Vague

In conjunction with Alastria Press, Shift Space Gallery is accepting submissions for artwork in any media that can be created at a distance. This exhibition draws from the traditions of mail art, telephone art, and telepresence, and seeks innovative approaches to gallery display. Artists are invited to propose works that utilize long-distance methods of communication such as written instructions, digital/web-based files, teleconferencing performance, or any other method of production from disparate locations. All work will be executed and/or installed by a small team of volunteers based on artist instruction, without the artists present. For this reason, process-based works that focus heavily on endurance and labor are not practical for this project. Alastria Press will produce an exhibition catalog in print that will include artist information and web links in order for viewers to further connect with artists from various parts of the world. All work will be professionally documented and shared online in a permanent web page. Photos and video of the exhibition will be shared with all participating artists.

Between A Rock and A Soft Place @Krowswork, Oakland, Sept-Oct 2016

Reception Oct 7th 6-9 pm!  Come!!!


Resident/performance days: Sept 30-Oct 2, Oct 7-8

Talk, Oct 8.

  Opal , 2016

Opal, 2016

Show Statement

There is no such thing as being stuck between a rock and a hard place.  Life has a way of responding and, inevitably, something always moves.  It is just like water finding its way – as if that hard place is secretly a soft one, and at a certain threshold, will surrender, and even, miraculously, make space for something new to emerge.  Life wants, unceasingly, to flourish.  

This is creativity in action, in trauma, in life, and in art.  Artist’s drive themselves into a corner, begin to think they are stuck and somehow, miraculously, maybe in a flash of inspiration, discover a portal through the wall or a way to bend they didn’t know was possible.  In so doing, they create more room to take their creative process further.  This creative stream flows like river over a stone – casually and constantly reforming the shape of the stone with every pass.  In my own work, I am always in search of finding the way to slide into this creative stream.

The work on view here at Krowswork is a meditation on the power of the creative practice to emulate water on stone in healing, softening and accepting capacity.  This work is not only a reflection of my own personal story but, hopefully, also serves to draw an understanding of and empathy towards one’s own relationship to pain, burden, power and even death through action, humor, and curious unprejudiced exploration.  


Over the past few years, I have developed a process for myself to interact with both objects and landscape intuitively.  This practice has manifest through video, performance, sculpture and photography.  It is an integration of meditation, movement and art-making, and comes on the heels of the realization that I need to prioritize the unknown. I have found that the more authentically I relate to what I do not know, the more profoundly the work is able to relate to the viewer.  I am eager to share in this discovery that artwork can bring forward.

All the work in the gallery was made in July 2016 in Sedona Arizona while on residence at the inaugural Sedona Arts Colony, co-run by The Sedona Art Center and Verde Valley School.  I am deeply grateful to have had the opportunity to participate.  


How Many Times Surrender

I will be performing a new work to inaugurate a new artist project, Camp Colten, as initiated as a C3Initiative endeavor in Portland OR.  I am very excited for the opportunity to explore new work on this beautiful site this Sunday Sept 25th 2016.

Documentation will follow.

A Tale of Two Cities OPENING Collaboration between UCPLA and Creative Growth!

SATURDAY AUGUST 20, 6-9 pm!  


A Tale of Two Cities   

Last winter, Veronica De Jesus, the Artistic Director at United Cerebral Palsy Los Angeles, UCPLA, invited me to curate a project here.  The following spring, together with the art staff, Veronica De Jesus and Aragna Ker, we used the opportunity to create dialogue between artists from disparate art centers in California.  For this first iteration, 12 artists from Creative Growth Art Center in Oakland CA, where I had recently left after two years as the ceramics instructor, and nearly the complete group of artists at UCPLA, engaged in 4, 3-hour work sessions.  During these sessions they collaborated on drawings depicting their respective cities and interests.  The drawings were faxed back and forth and worked on by both groups simultaneously.  We used Google Chat as a medium for live collaboration and communication. 

The artists were able to make deep connections with one another through both their art practices and live dialogue.  They had friends in common, similar (and dissimilar) interests and were all excited to dive deeper with each coming interaction.  The spontaneity and fluidity of this collaboration contrasted with ways in which many of them ordinarily work, side by side but on their own respective projects.  Overall, I think the artists would agree, the project was a success and they cannot wait to reunite with their new colleague, be it through digital or analog form!

Sedona Art Colony Innagurral Residency Program July 1-20

I am honored to be one of the first artists in residence at the Sedona Art Colony this summer.  

The Verde Valley School and Sedona Arts Center have partnered to launch a new residency program for artists and cultural managers in Sedona, Arizona. The inaugural Sedona Summer Colony will begin on June 19, when over 125 creative people begin arriving to will inhabit the campus and become part of our high elevation desert community.

"They are musicians, ceramic artists, choreographers, poets, film-makers, organization directors, and documentarians," said Eric Holowacz, Executive Director of Sedona Arts Center who co-founded the program with the Head of Verde Valley School, Paul Amadio. "Our summer guests come representing significant 21st century cultural production—from as far away as Hobart, TasmaniaHelsinki, Finland;Auckland, New Zealand; and Manitoba, Canada. While here, Sedona will be their host and summertime home." 

The idea for Sedona Summer Colony was inspired by the original artist retreats, like YaddoMacDowell,Hambidge CenterVilla Montalvo in California, and the American Academy in Rome. Those organizations—emerging from the early 20th century—were built upon a strong belief in the power of interdisciplinary associations of artists. They built communities based on the regular gathering of cultural visionaries, the provision of creative resources, and the sharing of meals, excursions, spontaneous interaction, and daily life.

"Our goal is to do something similar in Sedona, and build a 21st century model for the most interesting creative people we can find—without imposing or demanding much from them," said Amadio. 

While in residence this summer, visiting artists will be provided with opportunities to explore the unique red rock landscapes, connect with Southwest heritage, engage with our active creative community, and become immersed in Sedona's modern-day sense of place.

"At the very heart of the idea is a guest-host relationship providing time and space—and ready support for the creative process—here in our village-like desert environment," said Amadio. "Sedona Summer Colony residents will also have the simple opportunity to get away from their familiar home routines, and find quiet contemplation and solitude in one of the most beautiful places on Earth." 

When asked why build a major new residency program for artists and cultural managers in Sedona, Amadio and Holowacz answer in unison: Because artists and producers are active ingredients in 21st century American culture—they reveal who and what we are, in endlessly magical and challenging ways. What they do, in essence, is advance our humanity. And because Sedona deserves an entity and legacy like the MacDowell Colony in New Hampshire, Aspen InstituteYaddo in Upstate New York, Hambidge Center in Georgia, and Chautauqua. Those legacies can be cultivated here

The seed for the Sedona Summer Colony was first planted in November 2015 with the first meeting between Holowacz and Amadio. Both had arrived in Sedona a few months before, taking over well-established, but staid organizations. Both came with a vision for change and community-building—and both had boards and trustees that were ready for big ideas.

Holowacz, with a background in festival productionarts facilities, and cultural engineering, proposed the idea of using the vacant summer campus to invite and house creative people from all over the world.Amadio, who also had experience with summer residency programs and an earlier career as a stage performer, saw a ready partnership that would enhance local identity and build new relationships.

"By playing generous host, we saw the opportunity to offer our Sedona Summer Colony residents a life-long relationship with our community and its unique environment," said Holowacz. "If we get it right, they'll go home with new discoveries, unimagined inspiration, and a deeper knowledge of the Verde Valley's undeniable sense of place. That is the underlying spiritual goal and the basis for this partnership." 

In early 2016, the two local organizations continued working on the model for the inaugural program, adding volunteers, like local performing arts impresario Winnie Muench and arts management interns, Claire Pearson, Amber Engelmann, and Talya Reynolds. Project manager Carol Holyoake was recruited to join the leadership team in late May, and will oversee campus and residency logistics this summer. Creative people and potential residents were researched, invited and selected from all corners of North America and a few from abroad. And finally, resources and grant funding were put in place this spring to support start-up operations, excursions, and program needs. 

"This is a major step for both our organizations, and for the way that the world looks at Sedona," said Holowacz. "We invite our local creative community to join us, contribute in some way, and help Sedona Summer Colony become the next great American artist residency program."

The Sedona Summer Colony Launch Party will begin inviting artists, creative producers, and cultural managers to the 2017 summer program from September 2016. To learn more about this Sedona Arts Center and Verde Valley School partnership, and this new American creative community, contact Eric Holowacz at (928) 487-0887.


OPEN ENGAGEMENT Presenter: Commanding Presence: Disabled Artists / Curators on Infiltrating the Social


Commanding Presence: Disabled Artists / Curators on Infiltrating the Social

Gathering together some of the most provocative voices of the Bay Area, our panelists speculate on the role of arts practitioners to record and amplify the experience and concerns of disabled people 25 years after the Americans with Disabilities Act. We will discuss current projects that present creative challenges to mental illness and police violence, race and disability poetics, medical/echnological interventions, and political activism. We are united in the belief that authoring contributions to the cultural and historic record is crucial to empowering people with disabilities. Discussants are documentary filmmaker Regan Brashear, filmmaker/ artist Lisa Ganser, artist/ curator Cara E. Levine, poet/ performance artist Leroy Moore, photographer/ disability rights activist Anthony Tusler, and community activist/ oral historian Alice Wong. Moderated by artist Jennifer Justice. Lecture Hall, Level 1, OMCA