Meet yer Maykr: Theresa Gooby

On the door: a photo of Red Room, a previous string installation in an abandoned house.
I paid a visit to Theresa Gooby 's little enclave at Beacon Studios this weekend. Her "Habitat" sized space, carpeted in a sound subduing commercial grade gray, exudes a quaint comfort. It's a softened corner in an otherwise hard edged and reverberant building.

A growing arrangement of plastic bag fragments on wood of various dimension.

Theresa's work is an exercise in the expansive capacity of the minute; creating broad gestures with the most elemental units of a particular material.
Currently, she's working on two such projects that she's hoping to have ready in time for the next open studio which should take place in late September. One work utilizes scores of unfolded paper napkins and the other, meticulously cut and pasted plastic plastic shopping bags on forms of wood of of various dimension, which resonated with me as a contemporary take on the seductive layered softness of ancient Peruvian feather work.


Above: a modification of her 100 Drawings of Trees in Winter. Below: a grouping of another project that provides Theresa's eyes and hands a break from the repetative rigour of her other ongoing projects.


In what I think is the most elegant and straight forward approach to an artist statement, Theresa's Artist Statement embodies the very nature and character of the work created while simply and emphatically setting forth the prime tenets of the artists motivation.
The statement is essentially a visual onomatopoeia for the breadth of her body of work.

Details of Theresa's Artist Statement
I first met Theresa last year under the auspices of WOMS, and after having seen her work, I invited her to participate in Kamp Maykr last May, for which she created Viewing Window, Partially Abstracted.
Above: a night time view of Viewing Window, Partially Abstracted. Below: a cultural freeloader.