Bio

I was well-travelled by the age of 13 having grown up in Indonesia, Lebanon, Canada, Mexico, Ecuador, the United States and Austria.  All of these cultural juxtapositions helped me develop a multi-discipline approach to making art.  There is a certain freedom in knowing that there is no ‘correct’ way to be in this world.  It allows ‘meaning’ to be a very fluid concept.

My love of maps seems to be shared by many as the Illustrations have been featured in articles around the world and in many different languages – most prominently within Huffington Post and the Design Magazine Core77.  The maps were on display at Toronto’s Nuit Blanche 2010 and at Chicago’s SmArt Gallery in 2010 and 2011.  The maps are both profound and meaningless and reflect perfectly my belief that human existence is also profound and meaningless.  Maps are very clinical, serious tools that exhibit the human need to control and possess the land on which human’s depend as well as being personal diaries of ancestry, memories and hopes.  I take this familiar tool and spin it until I find arbitrary, dis/figurative fairy tales by pulling focus between the intersecting lines and shapes of these maps.  This play between control, whimsy and personal meaning is what gives these maps their power.

The MotherHood Experience received funding from the Ontario Arts Council Northern Arts Grant towards my Mother’s Day Opening in 2011.  I continue to use familiar objects such as bottles, pans, lingerie, vases and cutlery to explore the meaning of Motherhood in our western culture.  This body of work was presented at the 14th Annual International Motherhood Conference in Toronto during the fall of 2011.

In September of 2012 my  X-rays were presented at ArtPrize in Grand Rapids Michigan from September 19th to October 7th.  Whereas the maps were about lines, the X-rays are more about shapes and colour-fields.  In keeping with the maps, the X-rays are another common human tool, (going the way of the dinosaur and the dodo), that just needs a little tweeking to be seen in a new light.

I am furthering my work on lines and shapes into planes with a growing body of work in which I weave on dead trees in the woods.  As the branches twist and undulate, the woven plane torques.  Multiple planes in themselves begin to create forms/spaces/rooms within the dead and fallen trees.  Although my mediums keep changing, I do believe that it is one long meditation on The Line. The weaving of objects has moved from the woods to human-made objects and a meditation on how the contours of our environment exist in relation to each other. The installation Invisible Landscapes was accepted to Nuit Blanche Ottawa + Gatineau 2014 and will be presented Saturday, September 20th at Nuit Blanche Ottawa + Gatineau 2014. A Kickstarter grant was successfully launched and funded to procure funds for this installation.

The urban weavings found a second iteration at the Hintonburg Happening in the spring of 2016. The councilman Jeff Leiper and the Wellington West Business Association gave permission for the installation to remain up long enough for a small concert to be performed inside the structure. The classical guitarist, Andrew Mah, and classically trained cellist, Rafael Weinroth Browned were recorded by five cameras and the video Musical Landscapes is currently in post-production.

Before expanding into the world of visual arts I worked on independent and commercial films for five years in Toronto and Vancouver after graduating from Queen’s University’s Film Department.  The short film “The Bus Stop” was accepted to the Bilbao International Film Festival in 1997.  I decided to include fine arts into my range in 1998 and attended Massachusetts College of Art for Sculpture.

I am currently a professor in the Fine Art Department at Durham College in Oshawa, Ontario and recently completed a Masters in Art Education via Boston University (August, 2016). I focused on interdisciplinary curriculum development for high school and college classrooms with the arts and technology as serious methods of engagement for deep learning and 21st century competencies. I also teach at the Ottawa Creative Arts Centre, Compass Teens, Beehive Studios as well as private portfolio development classes.

3 Responses to Bio

  1. Pingback: ARTE LIBRE EN LA TOPOGRAFIA. INGRID DABRINGER. « PLANTA_0

  2. Rosi Morera says:

    Me encanta, haré un artículo sobre tí en mi blog. Un abrazo.

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