Alicia Forestall-Boehm

I am pleased to follow up my last post with this announcement that my encaustic and fiber sculpture  "Passages" received an Award of Recognition in the 70th Annual (WVE) Wabash Valley Juried Exhibition at The Swope Art Museum. Passages Juror Carter E. Foster, the Steven and Ann Ames Curator of Drawings at the Whitney Museum of American Art, wrote this statement for the exhibition program. "Surrealism is alive and well.  Whether through startling disjunctions of scale, eerie elimination of detail, strange juxtapositions or simply playful twists on observed reality, many of the artists I chose for this year's exhibition find endless richness in tinkering with the world while remaining fully part of it, without resorting to abstraction.  Some mined their psyches or that of an imagined other quite playfully and optimistically, without the darker undercurrents often common in this type of work.  On the other hand, the terror of the mind's unknown or blacker

With much of my time spent creating new works, I have expended little energy on submitting to summer exhibitions.  The Swope Art Museum in Terre Haute, Indiana has had an annual exhibition for the past 69 years.  The 70th Annual Wabash Valley Juried Exhibition includes the work of artists residing in Indiana, Illinois, Kentucky, Michigan, and Ohio. Passages This year's exhibition was jurored by Carter E. Foster, the Steven and Ann Ames Curator of Drawings at the Whitney Museum of American Art.  The opportunity to position my work in front of this jurors eyes was all the motivation I needed to find the time to submit to this show. Unfulfilled Dream I entered three encaustic and fiber sculptures; "Unfulfilled Dream", "Passages" and "Living Together-But-Separate Lives". The first two were chosen and included in this exhibition.  Living Together-But-Separate Lives The exhibition runs from June 28-August 23, 2014.

In my last post I talked about my preparation for the exhibit "Spaces We Inhabit" and the two sculptural installations I created for this show.  This post is a collection of images from the exhibition.      "Spaces We Inhabit" at the Hairpin Arts Center, Chicago.                 Me with my installation Spaces We Inhabit .  It consisted of 7 ceiling-hung columns, each 15' long.  The cubes themselves vary in size from 1.5"x1.5"x1.5" to 4.5"x4.5"x4.5".                                            Infinite Possibilities on the wall to the left.    The Power of Place and   Make No Little Plans on pedestals.  On the wall - two paintings by Mary Zeran between two paintings by Emily Rutledge.   Moving Day on the wall to the left, Place on the pedestal, paintings by Emily Rutledge on the wall and a peek of my installation Spaces We Inhabit between the wall and col

Place (detail)   I’m sending two of my newest sculptures to Florida this month.   I am especially pleased that both were accepted as it was the first time I had submitted either for an exhibition.   Place is the largest work I have created to date, measuring 6’7”, twice that if it is laid out from end to end.   I plan to pursue Place as a series that will be hung as a multi-piece installation. Place   6’7”hx8”wx4.5”d    e ncaustic, cheesecloth, cotton cord, foam    Passages has been a work in progress.   I made the base last year and it sat off to the side in my studio waiting for inspiration.   Over time this base changed shape until I came upon the decidedly boat-like form it is today.   It then returned again to that “place of contemplation” off to the side in my studio until one day I spied the roll of copper wire I had in a container of wire and cords.   I really like the combination of metal with wax and fiber.   The small sections of copper wire impale t

The Accumulation of Small Moments  12"hx12"w  Encaustic, Fiber on Panel  Do you ever find yourself in need of a change?  Maybe it's a change as small as a new haircut or maybe it takes the form of a new look to a room in your house.   Perhaps you don’t want a new look, but a new attitude.    Maybe what you seek is a new view of your life or your work?  W hatever it may be, it's always something fun to do because it brings some "newness" into your life.  We all find comfort in the status quo but a little change; something new can be just what we need.  Frozen Music     5.5”hx11”wx6.5”d    Encaustic, Fiber, Wire, Found Metal For a while now I have wanted to change my website.   I wanted to keep the basic design simple and focus on showing my artwork in a straightforward way.   I also wanted to assimilate various social media platforms into my website in order to create a more complete web presence.   My final revisions included tying in th

The Power of Place                 9”hx18”wx11”d                    encaustic, fiber, hemp cord, wire       Inspiration can come from anywhere.   As an artist, I am inspired by the urban landscape. I am drawn to the innate sense of randomness, clutter and change that can define an urban existence.     The landscape of the city and its architecture can seem unwelcoming with its hard edges and its overflow of inhabitants.   In actuality, there is an inherent harmony that exists in a city.   The visual repetitiveness and symmetry of the buildings themselves to the city plans they fill.   The cacophonies of sounds that can, with their aspect of constancy, make for a soothing element of dependability.   And while certainly, there is a certain discordant relationship among some city dwellers, there is a remarkable interchange of order among the majority of inhabitants.  I am also inspired by those people, whose visions helped to create this world.       The Power of Pl

    Earlier this year I was contacted by Kelley Baum, a teacher at Franklin Fine Arts school in Chicago with a request that I participate in the school's annual Arts Day.  I was happy to have been asked and eager to participate in this annual event.  Every year artists from all areas of the arts are invited to spend the day with the student body.  This year artists included dance companies, authors, theater companies, visual artists, actors and musicians.    I have some experience with teaching art in the classroom.  During the 2005-2006 academic year, I designed and implemented a weekly comprehensive art education curriculum for a Montessori class of children ages 6-9.   This curriculum amounted to a hands-on trip through art history.  The challenge was to create weekly projects that not only followed the history of art but were engaging and workable with the ages included in the classroom.  We began with one of the earliest examples of art, cave paintings.  Working wi

Well summer has taken it's time getting to Chicago but it is finally here!  The cool rainy weather has kept me indoors and in the studio creating work.  I am happy that many of these new pieces have been included in area exhibitions.  Staci Boris, Chief Curator for the Elmhurst Art Museum juried two of my sculptures, Vertical Lines and Considering Mies , into the Summer Show at Water Street Studios in Batavia. I am thrilled to learn that I was chosen as an Honorable Mention artist in this show. The show was beautifully curated.  I was particularly pleased to see Vertical Lines hung out in the open.  Given the small size of my studio this piece was never afforded the space that gives it it's sense of floating.    The Water Street Studios Gallery Summer Show runs July 12-Aug 24, 2013 http://www.waterstreetstudios.com/   Vertical Lines  The name of this sculpture, Vertical Lines , was influenced by the artist Robert Mangold.  He is known for translating basi

They’re taking Marilyn down today! And while some will miss her, I must say that I am happy to see her go. I am talking about J. Seward Johnson’s 26 foot tall statue of Marilyn Monroe that was installed on Chicago’s Magnificent Mile last summer. Art or kitsch was the popular debate. She was wildly popular as a photo op with tourists due to her size and location. I went beyond the love/hate issue with this piece of public, art and posed the question “is bigger always better when it comes to art?” in a blog post that I wrote for FUSEDChicago.org in September of 2011. Below is that post. Is Bigger Always Better… When it Comes to Art? This summer’s installation of “Forever Marilyn”, Seward Johnson’s large scale public sculpture of Marilyn Monroe on Chicago’s Magnificent Mile, has served to renew the debate about whether large scale public art always qualifies as “art”. So, when considering art, does size matter? This discussion has led me to ask the same question of all a

The Infinite Benefits of Taking an Art Workshop My top three reasons for taking an art workshop #1 - The Instructor Each instructor brings their unique vision and expertise to the experience. They can help you look at things in a whole new way, help you to see things that would have previously gone unnoticed and learn new techniques that you can bring into your own studio and adapt to your own work. #2 – Your Fellow Attendees Working in close proximity of other artists can really be a beneficial component to the way you learn. Seeing what everyone else is doing and allowing them to see what you are creating can be wonderfully inspiring. The resulting interaction can really be valuable to your art-making process. #3 – The Workshop Topic I am a firm believer that learning something new, no matter how inconsequential it may be, is always a good thing! When considering an art workshop, you never know what you will end up taking back to your studio. A new technique