March in Houston marks the start of Bluebonnets and spring festivals. On alternate years, it’s also the year of FotoFest. FotoFest is a Houston-based contemporary arts organization co-founded by photojournalists Frederick Baldwin and Wendy Watriss. The examination of social, cultural, and political histories and contemporary life through the lens of photography and related media is central to its mission.
In addition to the organization’s year-round programming, FotoFest organizes a city-wide biennial project in the form of large-scale central exhibitions, curated lectures, performances, a symposium, and film programs. During the biennial, organizations are able to apply to serve as participating spaces. Because the FotoFest organization is a tenant of Silver Street (the location of my studio), I also get to enjoy exhibitions during the “off” years.
This year’s theme is Critical Geography, and I’m fortunate that I’m associated with two organizations that are serving as Participating Spaces.
Lee College in Baytown, Texas is hosting the Glassell School of Art Analog Photography Exhibition. This exhibition was juried by Lisa Volpe, Amy Blakemore, and Will Michels of the Fine Arts Museum, Houston. The opening reception is Saturday, March 2, from 5-7 PM in the Performing Arts Center Art Gallery at Lee College. The Glassell School of Art is the only museum-affiliated art school in the country. In addition to Leaves on Grass, I’m pleased to have five other lumen pieces in this show.
The Cloister Gallery is hosting the HOM photography exhibition of Pixels + Silver, a group of professional and semi-professional Houston-based photographers. This exhibition runs from March 6 through April 15. The opening reception will be on Thursday, March 7 at the Cloisters Gallery, 1117 Texas Avenue, Houston, 77002.
Usually I have a framed piece in a photography exhibition, but for this show I have a triptych. Three images of remnants from a house fire comprise the triptych. Because of the hanging system at the Cloisters Gallery, the three photographs, which were mounted on cradled boards and coated in cold wax, I had to mount them on a board, which I painted to match the cradled boards. The individual boards are adhered with Velcro so that they can be removed.