03/19/2018/3/19UJW
March 2018
MUSE
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ISSUE XXIII
GABRIEL DAWE A closer look at artist Gabriel Dawe and his life, philosophies & achievements. DENSITY OF LIGHT
FROM THE ETHEREAL TO THE DENSE
THREADS AND TACKS
Artist Gabriel Dawe describes, in his own words, his artwork.
Our MUSE staff gets faceto-face with Gabriel Dawe.
A photo compilation of Gabriel Dawe's works so far.
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PAGE 6
PAGE 14
MUSE ISSUE XXIII MARCH 2018 On the cover:
Gabriel Dawe with Plexus No. 28 Photo credit: Virginia Beach
Talents at Work EDITORIAL ————————————— Editor-in-Chief Alicia Ackerman Head Correspondent Bruce Bronson Senior Correspondent Charles Chelsey Contributors Gabriel Dawe Alastair Hewitt Alice Watkins Virginia Beach Kevin Todora Andrew Weber Jim Lo Scalzo Ron Blunt ART & DESIGN ————————————— Head of Design André Ong Artistic Chief Diane Duverney Artristic Advisor Etienne Escoffier
ADVERTISEMENT ————————————— Social Media Team Farah Filmore Gordon Gillespie Igor Ives Heads of Publication Jasmine Johnson Keith Kingston Heads of Publicity Luna Lasalle Mortimer Massey MARKETING ————————————— Head of Marketing Nicholas Nevin
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MUSE
ISSUE XXIII: GABRIEL DAWE
CONTENTS In Their Own Words:
02 Density of Light
Artist Gabriel Dawe describes his work in his own words.
Interview:
the Ethereal 06 From to the Dense Our MUSE staff gets face-to-face with Gabriel Dawe.
What Others Say:
10 The Art of Color
We asked others what they think of Gabriel Dawe's Plexus series.
Plexus No. 3 PAGE 08
End of Childhood 2.0 PAGE 14
Portfolio:
12 Beyond Plexus
Dawe's other works, briefly explained.
Photo Gallery:
and 14 Threads Tacks A photo compilation of Dawe's other works.
Timeline:
16 Curriculum Vitae
The Life & Achievements of Gabriel Dawe.
MUSE
ISSUE XXIII: GABRIEL DAWE
Originally from Mexico City, Gabriel Dawe creates site-specific installations that explore the connection between fashion and architecture. (photo: andrew weber)
In Their Own Words:
DENSITY of LIGHT text by Gabriel Dawe
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IN THEIR OWN WORDS: THE DENSITY OF LIGHT
Artist Gabriel Dawe describes, in his own words, his fascination with light and how it influenced his art.
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hen I was growing up, my father was fond of clouds, particularly when a ray of light pierced through them, so luminous you almost wanted to touch them. He sometimes followed such sightings with a sketch on a scrap of paper, deftly portraying the light breaking through. As a child, I often heard my mother express her admiration for the beauty of the sky, particularly on holidays any place in Mexico outside of Mexico City. The bright blue skies of her childhood there, which by the time I was a teenager were often infested with pollutants, had made an impression on her in her youth. Her new-found admiration for the skies in places like Oaxaca or Querétaro was sometimes followed by nostalgic recollections of those long-gone skies of her childhood. I never quite understood her admiration at the time, particularly because what she seemed to admire the most was the
blueness of the sky in plain daylight. As a young boy, I would roll my eyes, since the sky was obviously much more interesting at sunset when the colors were more intense and dramatic. If there really was a blue worth looking at, it was the rich blue that seemed to intensify after the sun dropped below the horizon. And despite my jaded attitude towards my mother’s appreciation of the not-sointense blue of the sky in daylight, today I am able to appreciate her fascination with it. It pointed to something that might have otherwise gone unnoticed. My own admiration for the sky, with all its subtleties of form and color, peaked when I moved to Texas. The dramatic overturns of the Texas sky captivated me, particularly during my long train rides to the university where I was doing my Master’s degree. It was in Dallas where the Plexus series came to be. It all started with a compelling experiment, one due to my inclusion in a show that aimed to explore the
Dawe's Plexus series has been exhibited in multiple galleries. Pictured is 'Plexus A1' at the recently opened Renwick Art Gallery, Washington. The Renwick was the first American building to be designed specifically as an art museum. (photo: jim lo scalzo)
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“
ISSUE XXIII: GABRIEL DAWE
This color mist alludes to
a symbolic quest to materialize light, to give it density,
. . . so that I can offer the viewer an
approximation of things otherwise inaccessible to us—
. . .
a glimmer of hope that brings us closer to the transcendent,
. . . to show that there can be
BEAUTY in this messed up world we live in.
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”
PLEXUS /ˈplɛksəs/ intersections between fashion and architecture. In this, and other early pieces in the Plexus series, I had not yet recognized the link between what I was doing and my own fascination with the sky and its subtle gradations of color and light. And yet, right from the start, it was clear that this work is infused with many layers of complexity and meaning. One of the first ideas I began developing, which comes directly from the theme of that first show, is related to the human need for shelter. I decided to create an architectural structure by using the core material of clothing. I realized that among the many intricacies of the raison d’être of both fashion and architecture is the capacity to offer shelter to the body. When we get cold, we wear a sweater. When it’s raining we can go inside a building. By reversing scale and material to create an actual structure made of thread, the sheltering quality goes through a transformation, from protecting the body on a physical level, to soothing the human spirit in a subtle, yet powerful way. Immediately, I had the desire to use gradations of color. It just made sense to subtly blend colors into a fine progression, and it was only later that I realized this was connected to the way light blends in the sky. The fineness of the thread makes these installations ethereal, almost immaterial, yet not, almost disappearing to the eye and leaving a color haze behind. This color mist alludes to a symbolic quest to materialize light, to give it density, so that I can offer the viewer an approximation of things otherwise inaccessible to us- a glimmer of hope that brings us closer to the transcendent, to show that there can be beauty in this messed up world we live in. Light is composed of the different colors of the spectrum. Here, it also comes to symbolize unity and wholeness.
noun
Network of nerves or vessels informing and sustaining the body. or An intricate network or web-like formation.
.
.
.
The choice to use thread was a natural extension of my work at that time, which was, and in many ways still is, an attempt to explore and subvert social constructs of gender. My growing up in Mexico, where machismo is ingrained in the very structure of society, led to many frustrations as a boy, one that looked up to his older sister—a sister who was privy to certain activities that were a definite no-no for boys. One particular activity was embroidery. Eventually, I grew out of that frustration, but the memory of it led me to explore this technique as an adult, and in doing so, to question the many social constructs that we sometimes presume to be permanent, rigid and inflexible. Eventually, I came to see the structures I was making with thread as symbolic representations of these social constructs, the viewer navigating and negotiating the installation in a dance that is
analogous to what we all do in real life, without any particular thought, on a daily basis. When it came to title these installations, I wanted to convey the complexity within and throughout all of these themes. I decided on Plexus, which literally means the network of nerves or vessels informing and sustaining the body. It was the perfect name because it not only refers to the connection of the body with its environment, but it also relates directly to the intricate network of threads forming the installation itself, and to the tension inherent in the thread, vibrating with an almost tangible luminosity. Plexus evokes the intrinsic order within the apparent chaos that exists in nature. A hidden codification breaks through, piercing our daily perceptions, seeming to create both matter and the immaterial with colorful rays of light ∎
Text adapted from the artist's website with artist's permission. Visit gabrieldawe.com to view more of Gabriel Dawe's work. 5
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ISSUE XXIII: GABRIEL DAWE
FROM THE ETHEREAL TO THE DENSE interview by alastair hewitt
LIFE CYCLE ———————————— When an installation is dismantled, Gabriel Dawe collects all the threads that have been used and creates his pieces that he calls 'Relics' which, as he explains, give a second life to the work of art. (photo: amon museum of american art)
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INTERVIEW: FROM THE ETHEREAL TO THE DENSE
One of our MUSE staff gets face-to-face with Gabriel Dawe to talk about his work process.
Alastair: What drew you to fiber and textiles as a preferred medium? The way you approach a simple medium from a mathematical standpoint is very compelling. Gabriel: It started as a form of rebellion against certain aspects of my upbringing. Now I really see the blessing, but when I was a kid growing up in Mexico City, it was very frustrating to not be allowed to sew by my grandmother because I was a boy. My parents were actually fairly liberal and non-traditional. My mother was the first and only woman in her family who had a job outside the home, and because of that, my sister and I spent a lot of time in the care of our maternal grandmother. For all the progressive education my parents gave us, we got bucketloads of traditional views shoved down our throats by my mom’s family. Looking back, it really seems screwed up, because we were constantly being tugged in opposite directions, which can be very confusing to a child. When I was living in Montreal in my late twenties, I recalled that frustration and decided to teach myself to embroider. It became an exercise in reversing many years of machismo indoctrination, which had never fully taken hold, but kept lingering in certain beliefs as well as personal fears. A: In order to achieve the 3D Plexus installations, I imagine a significant amount of calculation is required. I know you have a background in graphic design, as well as arts and technology. How complicated is it to compose your site-specific pieces, particularly when you are working with a variety of architectural styles? G: Well, here’s a disclaimer regarding my MFA in Arts and Technology: I mostly skipped the technology bits, so don’t be fooled by my technological prowess. Planning an installation in my mind, it’s really
not that complicated. I’m only using basic geometrical principles coupled with simple math. The most complex math formula I use is Pythagorean Theorem (a2 + b2 = c2), but otherwise it’s all easy stuff. I don’t use 3D rendering software and the work is not computer-generated either. At the beginning, it was just a big experiment that started to give interesting results. The first year, there was a very steep learning curve. Each new space gave me an opportunity to see what I could accomplish. Some spaces are easier to approach than others. I could go into one and have an immediate response that would translate into a clear idea right off the bat. And then there are spaces that require more pondering and musing. Also, the challenge is to find new ways to use what I know about the installations to achieve new forms or tackle new configurations. I’ll concede that it’s not always easy. I’ve come up with ideas that make
sense in my mind, but, on further inspection, I find myself with what I call a logistical impossibility. This means that because of the installation process, it becomes impossible to recreate, but I’m almost certain that there is a way waiting to be figured out. So it’s sometimes about solving a puzzle. There are always new things that I’m learning about the installations and that’s what keeps it interesting to me. A: Do you also have a strong interest in structural design? G: No. I’ve always loved geometry, but for me, it’s all about the visual experimentation. I don’t really know much about formulas. I recently asked a mathematician friend if there was any link to any mathematical principles and he pointed me towards quadratic surfaces. If you do a Google search, you’ll see the resemblance to my work, but all the formulas they’re related to are a bit (or rather, completely) beyond my understanding.
GIANT BRAIN TEASERS ————————— Dawe likens setting up an installation in a new space to solving a puzzle. Pictured is the artist setting up his artwork, "Plexus A1" (photo: ron blunt)
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ISSUE XXIII: GABRIEL DAWE
EPHEMERAL BEAUTIES ———————————— ABOVE: Although Dawe's large scale installations take hours or even days to set up, they are almost always temporary. Pictured is Plexus No. 3 when it was exhibited in GuerillaArts. (photo: kevin todora)
OPPOSITE: Threads from the Plexus series stored in plexiglass boxes Dawe refers to as Relics. I : Relic of Plexus No. 2 II : Relic of Plexus No. 3 III : Relic of Plexus No. 4 (photo: gabriel dawe)
A: One of the things that drew me strongly to your work was beyond the physical achievements, which I do find astounding. It was the stories you have told about your love of the sky and clouds, as inspired by your parents. I share my mother's passionate adoration for the sky as you do, and my stepfather is a painter who has an extraordinary gift for translating the emotive qualities the sky, clouds and colors can radiate together. You have also mentioned that your true appreciation for the gradation and light came to you in Dallas. I had a series of similar revelations when I moved to Denver, so reading your statement struck many unexpected chords with me. Was there one specific celestial epiphany that happened in Texas? Can you convey feelings about your connection to that area? G: It was definitely a series of them, and I think it even started before moving to Texas. I particularly remember one evening in Montreal, when I was with a friend on a terrace right after sunset, and pointed out the intense blue color of the sky. I remarked how much I loved that intensity, and I believe that was the first time I had ever put it into words, which I think is how it started to become a conscious thing. Shortly after moving to Texas, I had to spend over an hour commuting by train to go to grad school, and spent
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endless moments just gazing out the window at the sky. Everything being so vast in Texas, and the train being elevated part of the way, I started appreciating dramatic effects that I’ve never really seen anywhere else; not because they don’t happen in other places, but there are no tall buildings obstructing your view. A: The first time I saw your work in person was at Zadok Gallery in Miami. If I recall correctly, part of the exhibition featured your computations and tactical approach, followed by the installation itself, and then a series of plexiglass boxes packed with fibers, presumably left behind from previous deinstallations. It felt like a metaphor for the cycle of life itself. The notes on paper exist as conception, the sculpture is meticulously constructed, shaped and formed and is on display for a moment in time, and then finally memorialized in those plexi boxes. Is there any truth to that? Are those all common presentation methods for you? G: That is an accurate interpretation. There’s definitely a reference to the life and death dichotomy. In fact, I call the threads that comes down from an installation Relics, which is a concept borrowed from Catholic lore. When the first installations started to come down, I was enthralled with the lumps of thread I ended up with. It really compelled me to do something else with them. It’s really, as you allude
INTERVIEW: FROM THE ETHEREAL TO THE DENSE
“
&
There's definitely a reference to the
LIFE DEATH
dichotomy.
Dawe when asked on the relationship between the Plexus series and its resultant Relics.
to in the question, an exercise in opposites. The grand and ethereal quality of the installations transforms into something small and dense. The installations are about the geometry formed by straight lines, whereas the Relics become very organic. I would put the remains in the plexiglass cubes, or even frames, at first. Recently, I’ve been playing with the bundles themselves, holding them together with cable ties, knots, brackets, and other means that help to leave room for intimacy between the object and the viewer. I showed some of these at a show last year titled Requiem for a Fallen Structure, paired with drawings of what the installations used to be. They also relate to how certain structures in society fall down or get discarded and then tossed out. Every day we have this “dance” with social norms and structures, which dictate how we are to behave at any given moment. Similarly, when you’re close to one of the installations, you have to have a similar dance, where you’re not quite sure where the installation actually is—because they play with your depth perception—resulting in a symbolic representation of how we interact with those social norms. When the installations are taken down, the tension that held them in place is lost and a new and opposite tension holds the old structures tight in a bundle, as if trying to keep it in check ∎
I.
”
II. III. 9
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ISSUE XXIII: GABRIEL DAWE
Virginia Arrisueño What Others Say:
The Art of Color We asked others what they think of Gabriel Dawe's Plexus series. compiled by: alice watkins
…would love to see Gabriel Dawe's work in person
am constantly inspired by the transformations that occur in art – the way an artist can translate a blank space into a new and captivating creation. Gabriel Dawe is one such artist who transforms everyday spaces into stunning works of art through his metamorphic installations. Based in Dallas, Dawe creates installations that examine the connection between fashion and architecture, while also exploring how that connection is related to our need for shelter. Textiles are at the forefront of Dawe’s work as he attempts to understand the construction of gender and identity in his birthplace of Mexico. Dawe strives to make a statement, as many installation artists do. He wants his art to undermine the commonly held notions of machismo that exist today, specifically in Mexico. His series of Plexus installations does just that. The Plexus collection is created using bright-colored thread suspended from walls, ceilings and staircases. These colorful installations feature long and clean lines created by the thread, which mimic the body’s network of nerves and blood vessels. Although their beauty is to be admired, Dawe hopes that his installations will also encourage spectators to ask questions and reflect by presenting the human anatomy in a deconstructed way. The Plexus installations quietly invade numerous spaces, but there is nothing subtle about their beauty. Visitors are left entranced by the colors, lines and the deep meaning behind Dawe’s creations. As the light hits the thread, viewers are given an even more exquisite perspective. When each installation has reached its end and is taken down, Dawe keeps the thread and reuses it in his ‘Relics,’ transforming the thread once again. He breathes new life into the material and constructs art forms that transfigure the former sleek silhouettes into a more thick and dense creation. Dawe’s work amazes me, and I hope to one day see his installations in person. There is something sensual infused in the colors and delicacy of his creations which prove to be highly entrancing to the observer. ∎
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IN THEIR OWN WORDS: THE DENSITY OF LIGHT
Gabe Scott …thinks Dawe's work is revolutionary and pushes the boundary of light manipulation
allas-based artist Gabriel Dawe does not settle for doing things the easy way. His ambitious, site-specific Plexus installations elevate multiple mediums, primarily fiber and sculpture, into very lofty territory, often literally. The labor alone is formidable, demanding patience and precision in transforming raw material into sculpture, all the while adhering to the structure and contours a space demands. Inspired by a fundamental appreciation for the emotional, profound proclivities of light, these works examine the infinitely complex relationship an individual can experience with an element’s natural properties.
Jovana Milovic …thinks Dawe's Rainbow series is what happens when textile meets art and creativity
he Plexus installations inhabit the space like a spider web. They make sublime dream-like visuals that hypnotize the viewers while they explore their way around them and experience the distinctive perspectives that they offer. The light that infiltrates the space likewise assumes a critical part as it offers an extra point of view as the semistraightforward establishments become full of energy all of a sudden.
Having a prior background in both fashion and 3D constructions, aspects of both have evolved into the stunning, off loom, enigmatic forms we see today. This is the kind of work that widens the scope of manipulating light, color, gradient, mass, transparency and gravity, and when viewed in person, channels a deep, contemplative splendor, infused with harmony. Despite their delicate appearance, they are still works of great strength and structure, pressing the material to explore volume, weight, balance, shape and material, the very core of sculpture. ∎
Our Contributors for this Issue: VIRGINIA, from Washington, is the owner of DeNada, a contemporary knit apparel and accessories brand for both women and men.
Each installation, depending on its size, takes hours to be installed. They are meticulously set up together where every bit of string makes a bend like frame that strengthens the visual perfection of every piece. Together with the hues and the great utilization of the space, every installation passes on an earnest feeling of quietness. At the point when seen from distinctive edges, the consummately extended strings appear to be just about to challenge gravity and go into the space.
JOVANA is a young but established architect from Novi Sad, Serbia. Beyond architecture, she is also interested in painting and crotcheting.
Gabriel Dawe's Rainbow Installation is, in conclusion, what you have when textile, meets art, meets perception in a creative, colorful and dynamic way. His work is tender, serene and engrossing. It firmly identifies the human vicinity and conceptualizes all inclusive topics in this manner offering a crisp look on in what capacity it should they be addressed and confronted. ∎
Coming from Portland, Oregon, GABE is a freelance curator, and a contributing author for a number of art and design publications and website.
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ISSUE XXIII: GABRIEL DAWE
Beyond
Plexus
compiled by: alice watkins
Dawe's other works, briefly explained.
2006 to
Fear Series
2007
text // Gabriel Dawe
One of the many aspects of the human experience is dealing with fear. Our fears usually get a grip on us until we face them and bring out the light they conceal. By dealing with our fears we are able to regain power over one aspect of our lives. If, however, we don't deal with them they will cling, grip, or sneak up on us, manifesting in addictions, codependent relationships or unconscious behavior that in the least will hinder our personal growth and in the worst sever our integrity and push us into self-betrayal. The Fear series represent my reflection on different fears that range from the very personal and intimate, to the universal fears that haunt anyone at some point in life. Choosing insects as a metaphor for fear comes from the way we seem to be afraid of what we don't have control over. The most basic way we protect ourselves from the external world is to clothe ourselves, and that is the reason I chose to place this fears on fragments of clothing. To me this is a symbolic equivalence of how we try to protect ourselves from our fears instead of dealing with them in a conscious way. If we dared to do so we would realize we usually blow them out of proportion and we would then be a step closer to living a more authentic life. The technique I use is hand-embroidery, which is a very slow process that induces reflection. In choosing this process I had to deal with my fear of inadequacy that comes from growing up in a milieu that states that boys do not work with needles, as traditionally it's been a woman's job—one usually passed down from mother to daughter or as in my family, from grandmother to granddaughter. This is what led me to make a conscious effort to deal with my fears through this project.
2006 to
Selective Memory
2009
text // Gabriel Dawe
In Selective Memory, I enlarge forlorn details taken from the collective consciousness – such things found in old books, antique engravings, postage stamps, etc – isolating them from their original context and intricately embroidering them into a newer surface, mostly fabrics found either in my closet, my friend's closet, or at my local thrift store. I like mixing the old with the older with the intention of creating a whole new visual experience.
2008 to
Pain Series
2011
text // Stefania Vourazeri
Gabriel Dawe's Pain series touch upon the issue of pain and how unavoidable it is in our lives. Dawe uses elements made out of deconstructed clothing and invites the viewer to relate and accept pain as a force that human beings endure, coming out stronger at the other end of the experience. The fact that he uses familiar, everyday pieces from clothing such as sleeves and collars, as well as pants and boots, further invites the viewer to relate with the feeling of pain and its effect.
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BEYOND PLEXUS
see also Threads and Tacks: A photo compilation of Dawe's works so far
page 14 – 15 >>
2009 to
End of Childhood
2013
text // Caroline Haynes
Instead of large spaces, in “End of Childhood”, Dawe binds child’s toys such as metal cars and plastic animals like elephants, horses, and dinosaurs. Some are clustered together into bizarre, almost unrecognizable positions. Unlike the vivid gradients in his installation work, these sculptures feature more abrupt color blocking. When childhood ends, it too can feel sudden and abrupt. Many of us believe that children should not have any worries and should not have to work; life should be happy and trouble-free. This puts them at a greater need for security, especially during the transition into adulthood. For Dawe, thread, as in clothing, serves to shelter the body, and his manner of wrapping toys may also represent their much needed protection.
2009
Don't Ask, Don't Tell text // Isidor Haming
2013 to
Game Theory
2014
text // Gabriel Dawe
…On Don’t Ask Don’t Tell, the idea of masculinity subversion is especially achieved by wrapping combat boots in colorful threads and pins, materials normally associated with sewing and embroidery. It can also be interpreted as a response on how the masculine identity in the military is a complex, multi-layered issue.
…I spent about four years without a studio, so now that I have a proper studio space to work in, I only wish I could spend more time in it. The installation work takes me to a lot of different places so, in that sense, the world is my studio. I normally take something to work on while on the road, like the Game Theory thread pieces.
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THREADS and TACKS
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ISSUE XXIII: GABRIEL DAWE
I.
II.
Although well known for his Plexus series, Gabriel Dawe has always been a prolific artist even from way back in 2006. Featured here is a photo compilation of such works, each photo a representative for the series of artwork they belong to.
III.
IV.
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THREADS AND TACKS
I. II. III. IV. V. VI. VII.
opposite, extreme left
Center of the Universe, No. 3 from the Game Theory Series (2014) thread and paper, 19� x 6.5"
opposite, top right
End of Childhood 2.0
part of the End of Childhood Series (2013) thread and toys, dimensions variable
V. opposite, central right
Don't Ask Don't Tell No. 1
part of the Dont Ask Don't Tell Series (2009) air force desert boots and pins, 4.5" x 12.5" x 9.75" each
opposite, bottom right
Pain Series No. 22
part of the Pain Series (2011)
VI.
shirt collars and pins, 9" x 8" x 6"
top right
Selective Memory No. 1
part of the Selective Memory Series (2006) 8 centavos and thread on fabric, 10" x 10"
VII. central right
Fear of Dragging the Past part of the Fear Series (2006)
hand-embroidery on fabric, 32" x 39" approx.
bottom right
Fear of Rejection
part of the Fear Series (2006) hand-embroidery on fabric, 17" x 17" approx.
(all photo courtesy of the artist)
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ISSUE XXIII: GABRIEL DAWE
CURRICULUM VITAE Education
Solo Exhibitions
2008-2011 MFA candidate Arts and Technology
2014 Plexus No. 29 Brighman Young University Museum of Art Provo, Utah, USA.
University of Texas at Dallas, Dallas, Texas, USA.
1992-1998 Bachelor’s Degree : Honors Graphic Design Universidad de las Américas, Puebla, Mexico.
1994-1995 Academic Exchange Program The Nottingham Trent University Nottingham, UK.
Requiem for a Fallen Sructure Conduit Gallery Dallas, Texas, USA. Plexus No. 28 Virginia Museum of Contemporary Art Virginia Beach, Virginia, USA. Plexus No. 26 Blue Star Contemporary Art Museum San Antonio, Texas, USA. Plexus No. 25 Contemporary Art Museum Raleigh, North Carolina, USA.
2013 Plexus No. 23.1 Museum Rijswijk Rijswijk, Netherlands Threading Light Zadok Gallery Miami, Florida, USA. Light Paradox Gutstein Gallery: Savannah College of Art and Design (SCAD) Savannah, Georgia, USA.
2012 Blinding Pain Conduuit Gallery Dallas, Texas, USA. Plexus No. 15 LSU Museum of Art Baton Rouge, Lousiana, USA.
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2012 (cont'd) The Density of Light Galerie Lot 10 Brussels, Belgium. Plexus No. 12 The Juanita Harvey Art Gallery MWSU Wichita Falls, Texas, USA.
2011 Plexus No. 9 Peel Gallery Houston, Texas Plexus No. 8 The Luminary Arts Centre St.. Louis, Montana, USA.
2010 Plexus No. 4 Dallas Contemporary : Annex North Gallery Dallas, Texas, USA. Plexus No. 3 Guerrilla Arts Dallas, Texas, USA Plexus No. 2: Convergence Conduit Gallery Dallas, Texas, USA
2007 Luz Gallery Montreal, Canada
2002 The Light Within the Shadow Rad'a Gallery Montreal, Canada.
The Life & Achievements of Gabriel Dawe
Biennials & Public Commissions 2014 Plexus No. 27 State of the Art : Crystal Bridges Museum of American Art Bentonville, Arizona, USA. Plexus C12 US Consulate overseas: Art in Embassies Program
2013 End of Childhood 2.0 Miami Projects Art Fair Miami, FLorida, USA. YIA Art Fair Paris, France. Texas Biennial San Antonio, Texas, USA. Plexus C9 Nuskin Provo, Utah, USA. Plexus No. 23 Rijswijk Textile Biennial 2013 : Museum Rijswijk Rijswijk, Netherlands. Plexus C8 Gensler Houston Houston , Texas, USA.
2012 Plexus C7 Blogen Idec Triangle Research Park, North California, USA.
Awards Plexus No. 20 Zadok Gallery Miami, Florida, USA. Plexus C5 Houston FIne Art Houston, Texas, USA. Plexus C4 Marie Pierre Arthur Music Video: Fil de Sole Montreal, Canada. Plexus C3 Dallas Art Fair Dallas, Texas, USA. Plexus No C2 TED Conference Long Beach California, USA. East Wing X Courtauld Institute London, UK.
2011 Shortlisted : Austin Critic’s Table Best Art Installation Austin, Texas, USA.
2010 Graduate Travel Grant University of Texas at Dallas Dallas, Texas, USA.
2009 – 2010 Graduate Studies Scholarship University of Texas at Dallas Dallas, Texas, USA.
2009 Shortlisted : Best Emerging Mixed Media Artist Glaad Outauction 2009 New York City, New York, USA.
2008 – 2009 Graduate Studies Scholarship University of Texas at Dallas Dallas, Texas, USA
2007 Best of Show : 27th Annual Juried Exhibition Made To Measure : Arts Etobicoke Toronto, Canada.
Plexus C6 Private Home San Diego, California, USA.
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MUSE MUSE is a fictitious magazine made for the Typography II course of Nanyang Technological University's School of Art, Design and Media. None of the writers or photographers mentioned are affiliated with this project. No copyright infringement is intended. MMXVIII