Heavy Weather Artist Talk
I first discovered Karla Wozniak’s paintings in a gallery exhibition at Gregory Lind Gallery around 2011, or a little before. Seeing them, I was immediately dazzled by the boldness of color palette and the visceral presence of her brushwork. Among my reactions to what I was seeing, I recall feeling a sense of refreshment at seeing a painter so in love with their medium and willing to build up their surfaces as richly as her predecessors – David Park, Richard Diebenkorn, Jay DeFeo and Joan Brown, to name a few. I have followed her work ever since, and was surprised when she wasn’t picked up by another gallery in San Francisco when Gregory Lind retired from the business a few years ago. When I approached her to do a show at Paul Thiebaud Gallery earlier this year, I was delighted that she was both available and accepted the invitation. As part of the preparation of her exhibition catalog, I sat down with her to find out more about her painting practice and the inspiration behind her shift towards more abstract compositions.
Greg Flood: I have known your paintings for around 15 years now and over that time your work has both shifted in style and maintained a throughline of landscape as a basis underpinning your compositions. What can you tell us about how the evolutions within your paintings took place?
Karla Wozniak: My work has maintained a throughline of landscape ever since I was an undergrad at Rhode Island School of Design. My interest was kicked off by a road trip I took from Berkeley, CA to Providence, RI, in the late 1990s. I was struck by the variation of the topography and wide variety of places I saw on that trip. It sparked my fascination with the contemporary American landscape and the systemic forces that shape it.
Since then, my work has taken a lot of twists and turns. It was deeply influenced by my time teaching color theory at Pratt Institute in the mid-2000s, my first teaching job out of graduate school. I was also influenced by my time living in Knoxville, Tennessee, and the intensity of the lush landscape in that region of the Smoky Mountains. I moved back to the Bay Area in 2015, right after my daughter was born. Parenthood became a theme in my work then, as it still is today. At that time I moved away from the photo references that had been an important part of my practice. I realized I was making up 95% percent of my paintings anyway, so I dove in and worked entirely from imagination.
Improvisation has always been important to me as an artist, and becomes more so the longer I paint. Around 2019, I became interested in a more stacked, less perspectival composition. My work now is in the world of landscape, but instead of depicting a specific view, I’m interested in weather, energy, and atmosphere. The type of webbed abstraction I’m building gives space for many different themes and visual conversations, and can hold many of my interests simultaneously.
GF: The well-known Bay Area painter Roy De Forest (1930-2007) drew inspiration from all aspects of his life and filtered it through his artistic vision to create his paintings, drawings, sculptures, and prints. Would it be fair to say that you do something similar when you create your paintings and drawings?
KW: I love Roy De Forest’s work. It has so much energy. He didn’t shy away from maximalism, something I relate to. And I also draw inspiration from different aspects of my life. For instance, I’ve moved a lot, and my work has always shifted in response to my location. When I was living in New York City I became obsessed with suburban sprawl. I was in Brooklyn, which is composed of such a different type of urban fabric.
Then, in Tennessee, my interest in suburbia faded, I suppose because I had effectively moved into my subject matter. Becoming a parent also radically altered my work. I felt like I had to let my life into the studio. During Covid my daughter did kindergarten on Zoom, and my work during that period reflected how enmeshed I was with her education. There were also the devastating wildfires in 2020, which amped up my climate anxiety.
The new work doesn’t reflect the depression and anxiety of the Covid period. It’s more joyful. But it still speaks to the themes of landscape and play that continue to fascinate me.
GF: You became a mother for the first time in 2015. How has the experience of parenthood impacted your painting?
KW: Becoming a parent was a huge deal for me as an artist, in both practical and emotional ways. Before my daughter was born, I organized my life around my studio. I would work there whenever I wasn’t teaching, and my social life was almost entirely art-related.
When my daughter was born, I went through a bit of an identity crisis. Figuring out the work / life balance was challenging. But what was even harder was squaring my identity as an artist and mother. At first I felt alienated from my studio work. The landscape paintings felt too formal; my heart wasn’t in them. That was when I ditched the photo references and started to make paintings based on these sort of imagined drawings of my living room, filled with the clutter of kid toys, baby blankets, etc. This led to a group of interior paintings, the only ones I’ve ever made. It was such an important body of work for me emotionally.
Since then, parenthood has consistently been a theme in my work. Being a parent is relentless, overwhelming, but at the same time it’s deeply inspiring and meaningful. Childhood imagination and play is magical to witness. As an artist I’m always reaching for that state of play, those unusual connections that children make and the worlds they construct. I want my paintings to hold that wonder.
GF: One of the most dramatic visual shifts in your paintings took place in 2020, when almost all of the color disappeared from your palette. Was this a conscious response to the pandemic or did other decisions play a part?
KW: Well, 2020 was such a crazy year for all of us. For me, it was the only real break from painting I had taken since college. When Covid hit I was teaching full-time at CCA, and my daughter was in continues on pg. 22
Plate 3:
Under Water, Jump Rope Drawing, 2023, graphite on paper, 13 1/2 x 11 inches
Plate 4:
Night Tangle, 2023, acrylic and oil on canvas, 14 x 11 inches
Plate 5:
Underwater Jump Rope, 2023, acrylic and oil on canvas, 48 x 38 inches
Plate 6:
Lemon Lime, 2024, acrylic and oil on canvas, 72 x 60 inches
pre-school. Suddenly she was home with no childcare, and I was teaching painting online, which was quite challenging.
I realized I couldn’t do it all. Something had to go on pause for a while, so I made the conscious decision to put my painting practice on hold. I turned to drawing in the evenings during the hour or two of decompression time after my daughter went to bed. I developed a daily drawing practice, which I still have–generating hundreds of drawings that I use as starting points of my paintings.
When I returned to painting after about a six-month period, I wanted to do something different. I wanted to strip things down. The exuberant color didn’t feel right for where I was at emotionally. I also wanted to focus more on texture, which is an important component of the work, and emphasize more of the imagery I was including in the pictures. That body of work explored educational imagery–that was the time when my daughter was doing Zoom kindergarten–and forest-fire imagery. Some interesting things came out of that. I learned a lot through the process of stripping things down.
GF: When did the color we see in the paintings in our exhibition begin to appear?
KW: The color returned in the fall of 2022, about the time my Covid depression lifted. Although the work I completed during Covid was more monochrome and focused primarily on gray, the color never totally disappeared. I couldn’t let it go completely. But when I really got back into it, I wanted to hold on to some of the ideas I had explored with the more limited palette. I started to develop more intentional color themes for each painting. The new work features an emphasis on color proportion to help orchestrate complex palettes, and the phenomenological power of color.
GF: What is your process for developing a painting, from idea to the last brushstroke?
KW: The recent paintings start with a pencil drawing. In the evenings I draw in a sketchbook with high-quality drawing paper. I go through them periodically and cut out drawings that feel interesting to me. I then sort through stacks of them in my studio, separating out the ones that I find compelling. I pin them to my wall and think about them, finally focusing on ones I want to paint. I make most of the drawings when I’m watching TV. I like to draw when I’m a little bit distracted. That way I’m able to turn off the critical part of my brain. The analytical part comes in later when I sort through the drawings.
The paintings start with a washy underpainting in acrylic, a “bad” gestural abstract painting. I don’t overthink it–I just like to get some color down to react to. You can usually see a fair bit of this layer peeking through in the paintings. I like how it can give them a sense of air, and counteracts the heaviness of other parts of my process. I then sketch the composition down with a linear drawing, usually in acrylic. The drawing works as an armature for me to build on. I don’t plan things out in a holistic way. Instead I start working and react to what I’ve done as I go. I love textural variation, and I consistently explore very thick and thin paint application, and building up visual texture through brush strokes. In some areas I try to keep the energy of a first pass. Others become quite refined, layered, obsessive.
Plate 7:
Lemon Lime Drawing, 2024, graphite on paper, 11 1/2 x 9 inches
Plate 8: Winter Glow, 2022, acrylic and oil on canvas, 48 x 38 inches
In my recent works the looping line is important. It allows me to break up the visual field and create pockets of experience for the viewer. Looking is just as important as painting is for me, and I spend a lot of time thinking about how the different areas coexist with each other visually. I’m interested in pressure and movement, and want the paintings to hold tension. I like the idea that they have a visual punch on first view, but demand slower looking to experience their nuances and details, that they can slow you down and reward careful looking.
GF: While growing up, did you always have the creative spark? What were your experiences like earning your BFA at RISD and your MFA from Yale?
KW: I was always the art kid, although I was also quite academically focused. I’m dyslexic, and struggled a lot in elementary school. Art was my outlet. By middle school and high school I was doing pretty well academically, and art was the extracurricular I was good at. I had no sense that it was something people did as a career. Then I went to the RISD pre-college program, which really changed my life. I decided to become an artist.
When I was an undergrad, the RISD painting program had an experimental edge to it. Students were trying crazy things and just bouncing off each other. I had no idea what lay ahead as far as career path, but there was an abundance of creative energy with a real art-for-art’s-sake ethos. After college I worked in New York City for three years before pursuing my MFA at Yale. Yale was much more cerebral than RISD. Very tough love in an old-school way that I’m not sure exists anymore in art education (probably for the better). Yet I had so many brilliant teachers: Peter Halley, Mel Bochner, and Catherine Murphy, among others. I learned so much from them. I also had some fantastic classmates that were vital in helping me create a community and network after leaving school and returning to New York.
GF: Who are some of the artists you are inspired by and see your works in dialogue with, and why them?
KW: I’m an art-history nerd, and my work is influenced by many historical painters along with contemporary ones. I love Matisse. I find his paintings surprisingly radical when you look at them in person, more raw and challenging then you would expect. I also love Pierre Bonnard, especially his approach to mark and color. The Hilma af Klint retrospective at the Guggenheim made a lasting impression on me. I feel so inspired by the way her painting practice connected to her spiritualist beliefs and a personal iconography, and how these motivations drove her artistic practice and life as a artist, which was devoid of market success or recognition in her lifetime.
I’m also very indebted to a lineage of twentieth century Bay Area painters. Artists that drew some inspiration from what was going on in New York but were basically on their own trip. I grew up on the Bay Area figurative artists like Richard Diebenkorn and David Park. I’m obsessed with the materiality in Joan Brown’s early work, and Jay DeFeo’s paintings. Jess is also one of my all-time favorite artists. I love the variation in his work, the funky surfaces and countercultural spiritualism. As far as contemporary artists, I feel a connection to many New York painters who deal with color and materiality, like Michael Berryhill and Angelina Gualdoni.
GF: You are currently an Associate Professor of Painting at the California College of the Arts in San Francisco. How has being a professor impacted the way you make your work?
KW: What’s great about being a teacher is you’re always learning. I started teaching in 2006, soon after I graduated from Yale. I taught as an adjunct at Pratt at the same time that I was teaching workshops to kids in the New York City public schools. In 2011 I became an assistant professor at the University of Tennessee, and in 2015 was hired at CCA. Teaching has had a profound influence on my work. I feel very grateful that I get to look at and talk about art for a living!
I mentioned earlier the freshman color class I taught at Pratt, which radically changed my paintings. In response to the material that I was teaching, I began organizing my paintings around color relationships as much as value. But teaching has influenced me in other ways too. I regularly find myself giving students advice, and later realizing I should try the same thing in my studio. I try to create a classroom where students are learning from each other as much as from me. And in turn I learn from them every day.
GF: Where do you see your work heading in the next couple of years?
KW: Good question! Honestly, I’m not sure. I’m very pleased with this body of work and look forward to what comes next. I’m still super excited to be working in this playful, improvisational way, and I hope to push it further as I return to my studio.
Plate 9: Leaf, Smoke, Wave Drawing, 2023, graphite on paper, 11 1/2 x 9 inches
Plate 10: Red Moon, 2023, acrylic and oil on canvas, 14 x 11 inches
Plate 11: Leaf, Smoke, Waves, 2024, acrylic and oil on canvas, 72 x 60 inches
Plate 12:
Emerald City, 2023, acrylic and oil on canvas, 48 x 38 inches
Plate 13:
Fall Sunrise, 2023, acrylic and oil on canvas, 38 x 30 inches
Plate 14:
Beads, Wire, Waves, 2024, acrylic and oil on canvas, 38 x 30 inches
Plate 15:
Night Garden, 2022, oil pastel, colored ink, gouache, graphite on paper, 31 1/2 x 26 inches
16:
Plate
Spring Mix, 2022, colored ink, gouache, and graphite on paper, 31 1/2 x 26 inches
Plate 17:
Shape Shifter, 2022, oil pastel, colored ink, gouache, graphite on paper, 31 1/2 x 26 inches
Exhibition Checklist
Plate 2: Shattered Landscape 2023
acrylic and oil on canvas 48 x 38 in.
Plate 4: Night Tangle 2023
acrylic and oil on canvas 14 x 11 in.
Plate 5: Underwater Jump Rope 2023
acrylic and oil on canvas 48 x 38 in.
Plate 6: Lemon Lime 2024
acrylic and oil on canvas 72 x 60 in.
Plate 8: Winter Glow 2022
acrylic and oil on canvas
48 x 38 in.
Plate 10: Red Moon 2023
acrylic and oil on canvas 14 x 11 in.
Plate 11: Leaf, Smoke, Waves 2023
acrylic and oil on canvas 72 x 60 in.
Plate 12: Emerald City 2023
acrylic and oil on canvas 48 x 38 in.
Plate 13: Fall Sunrise 2023
acrylic and oil on canvas 38 x 30 in.
Works not Exhibited
Plate 1:
Shattered Landscape Drawing 2023
graphite on paper 13 1/2 x 11 in.
Plate 3: Under Water, Jump Rope Drawing 2023
graphite on paper 13 1/2 x 11 in.
Plate 7: Lemon Lime Drawing 2024
graphite on paper 11 1/2 x 9 in.
Plate 9: Leaf, Smoke, Wave Drawing 2023
graphite on paper 11 1/2 x 9 in.
Plate 14: Beads, Wire, Waves 2024
acrylic and oil on canvas 38 x 30 in.
Plate 15: Night Garden 2022
oil pastel, colored ink, gouache, graphite on paper
32 1/2 x 26 in.
Plate 16: Spring Mix 2022
colored ink, gouache, and graphite on paper
32 1/2 x 26 in.
Plate 17: Shape Shifter 2022
oil pastel, colored ink, gouache, graphite on paper
32 1/2 x 26 in.
Born in Berkeley, CA
Education
MFA, Painting and Printmaking, Yale University, New Haven, CT
Skowhegan School of Painting and Sculpture, Skowhegan, ME
BFA, Painting Major, Art History Minor, Rhode Island School of Design, Providence, RI
Professional Experience
Associate Professor, California College of the Arts
Painting and Drawing, Graduate Fine Arts
Selected Awards/Grants/Fellowships/Residencies
2019 SECA Award Finalist, San Francisco Museum of Modern Art
2014 Millay Colony Residency, Austerlitz, NY
2013 Virginia Center for the Creative Arts, Amherst, VA
2012 UCross Foundation, UCross, WY
2011 New York Foundation for the Arts Fellowship
2011 Artist in the Marketplace Program, Bronx Museum, Bronx, NY
2009 Marie Walsh Sharpe, The Space Program, New York, NY
2007 MacDowell Colony, Peterborough, NH
2005 MacDowell Colon Peterborough,NH
2005 Alice Kimball English Traveling Fellowship, Yale University School of Art
2003 Skowhegan School of Painting and Sculpture, Skowhegan, ME
2003 Vermont Studio Center, Johnson, VT, 2003
Selected Solo Exhibitions
2024 Sunshower , Et. al, San Francisco, CA (upcoming) Karla Wozniak, Paul Thiebaud Gallery, San Francisco, CA (upcoming)
2022 Cat’s Cradle , Roll Up Projects , Oakland, CA
2018 I Often Dream of Mountains , Schneider Museum of Art, Ashland, OR Living Room Days, Gregory Lind Gallery, San Francisco, CA (Catalog)
2015 The Valley Electric , Gregory Lind Gallery, San Francisco, CA (Catalog)
2013 This Weather Is Cosmic , Gregory Lind Gallery, San Francisco, CA (Catalog) Magic Mountain , Colburn Gallery, University of Vermont, Burlington, VT Blue Highway , Trailer Park Proyects, San Juan, Puerto Rico
2011 Significant Landscapes , Gregory Lind Gallery, San Francisco, CA
2010 Your Ad Here , Rebecca Ibel Gallery, Columbus, OH (Catalog)
2008 Road Works , Gregory Lind Gallery, San Francisco, CA
Selected Group Exhibitions
2022 In Residence , Studio Archive Project, New York, NY
2021 A Stiller Life, Deanna Evans Projects, Queens, NY
2020 Seeing Double , Richard and Rhoda Goldman Fund Gallery, ODC Theater, San Francisco, CA
2019 Highway Blues , curated by JJ Manford, Underdonk Gallery, Brooklyn, NY
Fog of Conspiracy , Gregory Lind Gallery, San Francisco, CA
Nature Studies, Wild Projects at Minnesota Street Project, San Francisco, CA
Surreal Sublime: Contemporary Landscapes, San Jose Institute of Contemporary Art, San Jose, CA
Three-Person Presentation, Dallas Art Fair, Gregory Lind Gallery, Dallas, TX
2018 INDOOR/OUTDOOR , curated by Glen Helfand and Kim Nguyen, Focus California, Toronto Art Fair, Toronto Canada
Two-Person presentation, Focus California, For the Love of Painting , Contemporary Art Matters, Columbus, OH
2017 Fortune Teller Chatter , three-person exhibition, Bard College at Simon’s Rock Hilman-Jackson Gallery, Great Barrington, MA
2016
Currents , Knoxville Museum of Art, Knoxville, TN
Two-Person presentation, Seattle Art Fair, Gregory Lind Gallery, Seattle, WA
SIX, Regina Rex, New York, NY
2015 Gazing Inland , Coop Gallery, Nashville, TN
Land Rush, David Lusk Gallery, Nashville, TN
Contemporary Focus , Knoxville Museum of Art, Knoxville, TN
2014 Souvenir , Regina Rex, Queens NY
In On , Heliopolis, Brooklyn, NY
Four Painters , The Property, Los Angeles, CA
All Worked Up , Rhombus Space, Brooklyn, NY
Think / Make / Think , Ewing Gallery, University of Tennessee, Knoxville, TN
Summer Group Show , Gregory Lind Gallery, San Francisco, CA
Higher Learning , curated by Dannielle Tegeder, Lehman College, Bronx, NY
2013 Wish You Were Here , Sun Valley Center for the Arts, Ketchum, ID
RELAY RELAY , Ortega E Gasset Projects, Brooklyn, NY
doorroomwindow II , PULSE, Steven Harvey Fine Art Projects, New York, NY
2012 Mark, Wipe, Scrape, Shape , SPACESHIFTER, Brooklyn, NY
Decade, Gregory Lind Gallery , San Francisco, CA
Quadrivium , Ewing Gallery, University of Tennessee, Knoxville, TN
LIFE AND TIMES: Contemporary Notions of Place , Georgia Southern University Gallery, Statesboro, GA
2011 Bronx Calling: The First AIM Biennial , Bronx Museum of Art, Bronx, NY
2010 Weasel , curated by Kurt Mueller and Chelsea Beck, Inman Gallery, Houston, TX
Rhyme, Not Reason , curated by John Yau, Janet Kurnatowski Gallery, Brooklyn, NY
Cooler Heads Prevail , Gregory Lind Gallery, San Francisco, CA
2009 Oscillate Wildly , Vaudeville Park, Brooklyn, NY
Brooklyn Redrawn , Brooklyn Historical Society, Brooklyn, NY
2008 This Modern World , curated by Paddy Johnson, GE Headquarters Fairfield, CT
Crossed Country , Sherman Gallery, Boston University, Boston, MA
Everywhere and Nowhere , Platform/Denise Bibro, New York, NY
2007 Something for the Commute , Brooklyn Fire Proof, Brooklyn, NY
A Muzzle of Bees , 33 Bond Gallery, New York, NY
2006 Local Transit , Artists Space, New York, NY
2005
Skyline , Sherman Gallery, Boston University, Boston, MA
Yale MFA Painting Thesis Exhibition , New Haven, CT
2004 Perspectives , Galerie Koch, Hannover, Germany
Inside Outside , Allston Skirt Gallery, Boston, MA (two-person exhibition)
Curatorial
2019 Making (It) Work , Oliver Art Center, California College of the Arts, Oakland, CA. Curated with Georgia Elrod
2013 The Sacred and Profane Love Machine , Ortega y Gasset Projects, Brooklyn, NY
2012 Mark, Wipe, Scrape, Shape , SHAPESHIFTER, Brooklyn, NY. Curated with Sangram Majumdar
2013/14 Founding Member of Ortega y Gasset Projects, Queens, New York
2009 Oscillate Wildly , Vaudeville Park, Brooklyn, NY. Curated with Linnea Paskow
Publications and Reviews
2018 Morris, Barbara. “ Karla Wozniak@Gregory Lind ”, SquareCylinder, March 2018. 2015 Cheng, DeWitt . “ Karla Wozniak, Gregory Lind Gallery, San Francisco, CA”, Visual Art Source, October, 2015.
Chun, Kimberly. “Karla Wozniak Paintings a Colorful Hybrid of Bay Area, South”, San Francisco Chronicle, September 25, 2015.
Butler, Sharon . “Preview: Karla Wozniak at Gregory Lind”, TwoCoatsofPaint.com , September 7, 2015
Kelley, Megan. “Landscape Art Shape Shifts at David Lush Gallery”, The Tennessean, July 8, 2015.
Duncan, S. Heather. “Painter Karla Wozniak Considers the Politics and Landscape of the Land Around Us” , Knoxville Mercury, April 1, 2015. 2013 Yau, John. “The Inimitable and Influential Art of Catherine Murphy,” Hyperallergic.com , August 11, 2013.
Campbell, Karen. “Critics Picks, The Week Ahead: Theater, Galleries, and Museums”, Boston Globe , September 11, 2013.
Morris, Barbara. “Karla Wozniak: ‘This Weather Is Cosmic’ at Gregory Lind”, Art Ltd. Magazine , republished on Painters-Table.com September, 2013.
Baker, Kenneth . “Working the World into Works of Art”, San Francisco Chronicle , July 5, 2013.
“‘This Weather is Cosmic’ at Gregory Lind”, SFArtEnthusiast.com , July 18, 2013.
“Karla Wozniak at Gregory Lind” , Juxtapoz Magazine , July 21, 2013.
Kim, Lucy. “This Weather Is Cosmic”, This Weather Is Cosmic catalog, Gregory Lind Gallery, June 2013.
Zevitas, Steven. “Must-See Painting Shows: June”, NewAmericanPainting .com, June 10, 2013.
2012 “South, Issue 100”, New American Paintings, Open Studios Press, Boston, MA, June/July 2012.
Martin, Sarah. “The Maximalist Painter: Karla Wozniak”, Modern Ink Magazine , November 28, 2012.
Kohler, William Eckhardt. “Painting Lives! ‘Mark, Wipe, Scrape, Shape’ at Spaceshifter”, HuffingtonPost.com , November, 29, 2012.
Zevita, Steven. “ Must-See Painting Shows: July/August,” NewAmericanPaintings.com, July 10, 2012.
2011 Johnson, Ken “Learning about the Marketplace and Entering It”, New York Times , August 12, 2011.
“Karla Wozniak at Gregory Lind Gallery”, Juxtapoz Magazine , July 21, 2011.
Esplund, Lance. “Bronx Calling: The First AIM Biennial Taking Aim”, The Wall Street Journal , July 9, 2011.
Chun, Kimberly. “Karla Wozniak: ‘Significant Landscapes’ at Gregory Lind”, San Francisco Chronicle , June 30, 2011.
2011 Britt, Douglas. “Weasel: A Show About Art Fakes at Inman Annex”, Houston Chronicle , January 6, 2011.
2010 Klaasmeyer, Kelly. “Weasels and Deer”, Houston Press , December 15, 2010.
Naves, Mario. “Rhyme, Not Reason; Curated by John Yau”, City Arts , September 28, 2010.
Yates, Christopher. “Your Ad Here: Paintings Reveal Signs of Conformity”, Columbus Dispatch, March 14, 2010.
2009 Brooklyn Redrawn preview, Fox Five, Good Day New York, February 27, 2009.
Neidl, Phoebe. “History Meets Art at New BHS Exhibition”, Brooklyn Eagle , January 8, 2009.
2008 Baker, R.C. “Best In Show, Karla Wozniak”, Village Voice , February 20-25, 2008, p. 46.
2007 Coburn, Tyler. “Something for the Commute”, ArtReview, February 2007, p. 72.
Blagojevic, B. “A Muzzle of Bees at 33 Bond”, Art Cal, The Zine , October 4, 2007.
“When it Stings like a Bee”, New York Sun , September 28, 2007.
2005 Harper’s Magazine , April 2005, p. 15.
Selected Public Collections
Knoxville Museum of Art, Knoxville, TN Museum of Fine Arts, Boston, MA
Cover: Lemon Lime (detail), 2023
Rear Cover: Underwater Jump Rope (detail), 2023
Copyright 2024 Paul Thiebaud Gallery. All Rights Reserved. Images copyright 2024 Karla Wozniak.
Design: Greg Flood and Matthew Miller
All images, photo: Matthew Miller
No portion of this document may be reproduced or stored without the express written permission of the copyright holder(s).
PAUL THIEBAUD GALLERY
