Michelle Forsyth
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Born: Vancouver, BC
Lives: Pullman, WA
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2001 - M.F.A., Mason Gross School of the Arts, Rutgers University, New Brunswick, NJ, USA
1996 - B.F.A., University of Victoria, Victoria, BC, Canada
1993 - Associate of Visual Arts, Camosun College, Victoria, BC, Canada
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2011 - May 18, 1980, 31 Years Later, PDX Window Project, Portland, OR, USA
2011 - After, Pentimenti Gallery, Philadelphia, PA, USA
2010 - For September Second, Amo Art, Waitsburg, WA, USA
2010 - Over & Over, The Hogar Collection, Brooklyn, NY, USA
2009 - Canopy, University of Southern Maine, Gorham, ME, USA
2008 - Field Work, Zaum Projects, Lisbon, Portugal
2008 - Then & There, Deluge Contemporary Art, Victoria, BC, CAN2007 Paperwork, Hogar Collection, Brooklyn, NY, USA
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2011 - Papercuts, Georgia State University Gallery, GA, USA, Space 301, Mobile, AL, USA, Other venues TBD
2010 - More of the Best Is Yet to Come, Pentimenti Gallery, Philadelphia, PA, USA
2010 - Old Media/Old News, The Luminary Center for the Arts, St. Louis, MO, USA
2009 - Show Off Foire, Internationale d'Art Contemporain, Stand B10, Port des Champs Elysées, Grand Palais, Paris, FRA
2009 - Across the Divide: Contemporary Art from the Scablands and Beyond, Center on Contemporary Art, Seattle, WA, USA
2009 - Heavy Duty, La Zona Red Hook, New York, NY, USA
2009 - Heavy Duty, Fondation Argentine Cité Internationale Universitaire ŕ Paris, France
2009 - Heavy Duty, Forja Arte Contemporáneo - Espacio de Gestión y Creación de Arte Contemporáneo, Valencia, Spain
2009 - Cutters, The Hunterdon Museum of Art, Clinton, NJ, USA
2008 - Cutting Fine, Cutting Deep, curated by Julie Püttgen, Art Gallery at Stephen F. Austin State University, Nacogdoches, TX, USA
2008 - New Year Sneak Peak, The Hogar Collection, Brooklyn, NY, USA
2008 - Aqua Art Miami, Aqua Hotel in South Beach, and Aqua Wynwood, Miami, FL, USA
2008 - Cutting Fine, Cutting Deep, curated by Julie Püttgen, Robert C. Williams Paper Museum, Georgia Tech, Atlanta, GA, USA
2008 - November 7, 1940 (for Tubby), Woolworth Windows, Tacoma Contemporary, Tacoma, WA, USA
2008 - Bridge Art Fair @ The Waterfront, 222 12th Avenue, New York, NY, USA
2008 - Start, Zaum Projects Contemporary Art, Lisbon, Portugal
2008 - Cutting Fine, Cutting Deep, curated by Julie Püttgen, University Art Gallery, Sawanee: The University of the South, Sewanee, TN, USA
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2011 - Edith Newhall "Galleries: A fresh directness in painted wood," The Philadelphia Inquirer, Philadelphia, PA, USA. March 20. p.115
2010 - Frances De Vuono, Over and Over Again, the Nature of Memory, Catalog, The Hogar Collection.
2009 - Robert Lowell, Maine Fire Inspires USM Display, american Journal, Tuesday, March 5
2009 - Danica Koenig, Depicting Disaster as Art: USM's Visiting-Artist-in-Residence Michelle Forsyth, USM Free Press, March 2
2009 - Mary Birmingham, Cutters. Catalog. The Hunterdon Museum, Clinton, NJ, USA.
2009 - Brian Grison. Michelle Forsyth: An Introduction, Canopy, The University of Southern Maine, Gorham, ME, USA
2008 - David Drake, Interview, Field Work, Zaum Projects Contemporary Art
2008 - Clint Roenisch. Carte Blanche Vol. 2: Painting, (Toronto: Magenta Publishing for the Arts, 2008)
2008 - Wendy Welch. History Repeating, Monday Magazine, Victoria, BC, Canada
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2010 - GAP Grant, Artist Trust, Seattle, WA, USA
2010 - Residency, Frans Masereel Centrum, Kasterlee, Belgium
2009 - Visiting Artist in Residence, University of Southern Maine, Gorham, ME, USA
2008 - Travel Grant, College of Liberal Arts, WSU, Pullman, WA, USA
2008 - Research Grant, Canadian Studies Program, WSU, Pullman, WA, USA
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Text Work, 2008.
For the past several years my work has addressed historical events as seen through the lens of news media. Through first-hand visits to, and subsequent renderings of my visual experiences at 100 historical disaster sites pictured in news photographs, I have worked to address a sense of grief. While researching each site for this project, I have scoured many old newspapers for written information. Along the way I have noted many poetic passages that conjure graphic images of their own. In Text Work, I have punched several quotes, including eyewitness testimonies and first-hand accounts, into single sheets of white paper. What is left is a lacey absence.
Ostinatos, 2007- 2010
This series of work, consisting primarily of hand cut paper pieces mounted on the ends of dressmakers pins tacked into the wall, is a spin off of my previous series, One Hundred Drawings. Each piece documents a site of disaster re-photographed by me years after the event has occurred. Part requiem and part obsession, these pieces are a testament to those who have suffered there in the past. Each piece made in Ostinatos has a counterpart that exists as part of One Hundred Drawings and although both series are drawn from images of the same site, each piece has been generated from a different photograph and bears a different vantage point. Throughout my travels to each site, I have noticed many flowers. While cut flowers have been placed on the sites to mark a loss and secure a memory, others have grown on the sites simultaneously hiding and healing the scars of each disastrous event.
One Hundred Drawings, 2005-ongoing
One Hundred Drawings is an ongoing series of elaborate gouache drawings depicting sites of disaster that have I have visited and re-photographed. Although the nature and magnitude of each event covered by my project varies considerably throughout the series, all the events have been captured photographically, simultaneously marking them as historical events and thus fostering ongoing media attention. As opposed to trying to recreate the aesthetic spectacle triggered by the media coverage of each event, I have instead focused on capturing images of aspects of the site that tend to be more fugitive.
Sunday Paintings, 2006-07.
This series of Sunday Paintings consists of 53 watercolor paintings done from sculptural collages of the Sunday New York Times in 2006, between Sunday, January 1 and Sunday, December 31, 2006. The work examines the connection between the realm of leisure and the invasive images that tend to permeate that sphere in our society. The New York Times, as with many contemporary newspapers today, often contains at least one image of a military action, death or some kind of human suffering, yet the Sunday New York Times is associated with leisure due to the fact that its sheer volume promises no swift reading. It is this paradox that I attempt to uncover in this series of paintings documenting the Sundays in 2006.
Florescence (Flowers for Iraq), 2004-07
Florescence (Flowers for Iraq) is a series of installation pieces that examine images from the war in Iraq available on Internet sites. In these works, I have attempted to rescue the horrific images from their de-personalized context and imbue them with a sense of beauty. Creating them out of thousands of small, colorful pieces of paper they become memorials to the brutal realities of horrors of war.
Trauma Paintings, 2002-05
Using images of disaster and accident in this series of work, I worked to address the human costs involved in living within contemporary technological society. Based on a collection of images of trauma culled from television, newspapers, and the Internet that picture the aftermath of terrorist attacks, bombings, massacres and images of war, I used an elaborate and time consuming process in order to slow the images down. The grid bacame a nexus between the bitmapped images and the hand-crafted ones.
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