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roswell artist-in-residence program
& the
 roswell museum and art center

present in the Marshall Gallery

 



February-March, 2010


Gestalt Series: Thermometer, 2009, natural and synthetic fabrics, hand- and machine-stitched, 89”x23.75

The Observatory, 2009, natural and synthetic fabrics, hand- and machine-stitched, 102"x77.5"


 

 


Gestalt Series: Column
, 2009, natural and synthetic fabrics, hand- and machine-stitched, 89"x23.75"

The Observatory, 2009, natural and synthetic fabrics, hand- and machine-stitched, 102"x77.5"


 





 

Disappearing Assets, 2009, natural and synthetic fabrics, hand- and machine-stitched, 43.5"x26.5" Flag for a New Nation, 2009, natural and synthetic fabrics, hand- and machine stitched, 46”x107”


Petra Soesemann is Professor and Chair of the Cleveland Institute of Art's Foundation Environment.
During 2009 she is on sabbatical leave to focus on her creative practice at the Roswell Artist-in-Residence Program.
Selected awards include: Artist-in-residence at Fundacion Valparaiso in Spain; Fulbright Fellowship to study Incan architecture in Peru;
exhibition grant to Sao Paulo, Brazil; and travel grants to Mexico, Honduras and Guatemala to research Mayan art and architecture.
Soesemann holds an MFA from the School of the Art Institute of Chicago and a BFA from the Cleveland Institute of Art.
"My recent work explores textile surfaces that both obscure and reveal. Fabric constructions often incorporate translucent and opaque areas that bring perception into conflict with expectation and uncertainty, and engage the basic processes of mind seeking meaning as a process of consciousness.

For some time now I've been interested in the notion of the memory palace. In the Greek art of rhetoric, the memory palace was an imagined architectural space furnished with objects that were linked to concepts. As the orator mentally moved through her memory palace, the visualized space and furnishings would guide her through key speaking points. The concept of the memory palace intrigues me on several levels: the nature of visualization and spatial thinking; the linking of abstract concept to image; visual forms that mediate between the universal and the particular; the curiosity of breaching time through the act of recollection; and how the nuances of present experience reframe memory.

Many of my works from the past few years are conceived as components of one extensive installation that ironically will never be seen in its entirety because the memory palace is perpetually in progress: projected, dismantled and then conjured again through a changing assemblage of artifacts."

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