SOLO EXHIBITIONS
2009-’08 Jack Straw New Media Gallery, Still Point, Seattle
2006 Arcade: Architecture & Design, Video Installations: Chambers St., Reflector, Seattle
2004 N.E. Branch Seattle Public Library, Luminaire, Permanent Video Installations, Seattle
2003-‘02 Seattle Cine-Visions, SAC and the Seattle Channel, GULF: A Portrait Series, Seattle
2002 Lowell School, The Videre Project, Permanent Photo Installation, Seattle
2001 Suyama Space, Pause, w/ Norie Sato. Sound/ Video Installation, Seattle
2000-‘99 AT&T Cable, Gulf: a Portrait Series, Pierce County
1999 911 Media Art Center, Gulf: a Portrait Series, Window Installation, Seattle
1997 TCI Cable, Interview/screening. “Selected works”. PNWest. Seattle
1994 Colman Ferry Terminal, Inside Passage, Video/audio Installation, Seattle
1993 911 Media Arts Center, Documentaries Northwest. Remainder, The Other, Seattle
1992 TCI Cable, Smart Art Live, “Selected works”. Seattle
1986 Focal Point Media Center, Musical Chairs, Seattle
1984 Focal Point Media Center, In Balance, Seattle
911 Contemporary Art Center, Person-to-Person, Installation w/ Jill Medvedow, Seattle
1983-‘92 Canadian National TV, Native Culture Programming, A Fishing People, Tulalip Tribes,
Ontario, Canada
1983 KING 5, Broadcast, A Fishing People, Tulalip Tribes. Puget Sound and Vancouver, B.C.
GROUP EXHIBITIONS
2009 Electronic 4Culture (e4c), Video Installations: Pause, Rondelet,. Seattle
2008 Cornish College of the Arts, Faculty Exhibition, Itinerants. Video Installation.Seattle
2007 Northwest Film Forum’s 10th Annual Local Sightings Film Festival, Instal. Pause, Seattle
Visual Codec, One Shot 2006 project. Photo. Faze, Seattle/Portland/Vancouver.
Artist Trust Auction, Video Installations, Reflector, Twitch, Seattle
Henry Art Gallery, Birthday Bash. PhotoTryptich. P,P,F, Seattle
2006-04 Artist Trust, Midnight Movie Night, Selected Work, Seattle
2005-04 The Seattle Channel, The American Avant Garde, Selected works, King Co.
2004 Cornish College of the Arts, Faculty Exhibition, Fazed, Video Installation. Seattle
2001 Henry Art Gallery, deBASHery, Seaside. Wood Cut, Seattle
1999 Commencement Art Gallery, Tacoma Art Commission, Gulf, Window Installation, Tacoma
Center on Contemporary Art, Here & There, Letters from the Hill, Seattle
Henry Art Gallery, Y2BASH, Remainder. Etching, Seattle, WA.
Cornish College of the Arts, Faculty Exhibition, Remainder. Etching, Seattle, WA
The Children’s Museum, The Nightingale Project, Photographic Series, Seattle
1998 Henry Art Gallery, Paper Anniversary. Double. Etching, Seattle, WA
1997 The Objects in Hanger 2, Seattle Arts Commission. Inside Passage, Installation. Seattle
Human References: Mark of the Artist, Ten Year Retrospective of Seattle, Seattle
Artists’ Program Collection, Seattle Arts Commission, Inside Passage, Seattle
1996 Cornish College of the Arts, Faculty Exhibit, Fisher Gallery, 4/4 Time, Seattle, WA
The Children’s Museum, A Changed World. Video & Photography, Seattle
1995 The 90’s Channel, Independent Media Artists TV, Engram Chicago
911 Media Arts Center, 4/4 Time, Seattle
Elliott Bay Book Co. Inc., Selected Works. Seattle
1994 Women in the Director's Chair Festival, Engram, Chicago
American Film Institute National Video Festival, Engram, Los Angeles.
CSUN Art Galleries, Sovereign Turfs: L.A. Freeways. Engram, Los Angeles
911 Media Arts Center, Visions of U.S. Competition. Engram, Seattle
DCTV, Visions of U.S. Competition. Engram, New York, New York
Cornish College of the Arts, Fisher Gallery. Faculty Show, Engram, Seattle
1993 KCTS-9, Midnight Theater Festival. Engram,, Pacific N.W. Region
San Francisco Museum of Modern Art, Phelan Award, Engram,
20th Northwest Film & Video Festival, Engram, Portland, Oregon
Randolph Gallery, Engram, Chicago, Illinois
Video Art Theater, Tacoma, WA
RKCNDY Extravaganza, I Can’t See Myself, Seattle, WA
University of Washington, Women in Lit & Film, Selected Works. Tacoma
Elliott Bay Book Co. Inc, Selected Works. Seattle, WA
Bad Girls: Feminist Sex & Magic, I Can’t See Myself, Vancouver, and B.C.
Pacific Film Archive, Engram, Berkeley
12th Annual Video Shorts Festival, Remainder, The Other, Seattle
1992 Carnegie Gallery, 1991 Seattle Artists Program, Seattle, WA
Seattle University, Women's Herstory Project, Seattle
1990 Seattle Art Museum, 5th International Festival of Films by Women Directors
N.W. Film & Video Center, New work by N.W. Women Filmmakers, Portland
Western Washington University, Bellingham
New England Cable Systems, “Myth America”, New England Foundation for the Arts,
Boston
1989 AFLN Gallery, Project Choice, Can We Now Be Heard?, Seattle
1985 King County Arts Commission, Art Reach, Kent
1983 Northwest Artist Workshop, Portland, Oregon
1982 Focal Point Media Center, and/or, Seattle
The Media Project, International Women's Day, Portland
1981 and/or, Best of Northwest Group Show, Seattle
Bumbershoot Film Festival, Seattle, WA
Fifth Native American Film Festival, Finalist, San Francisco
1980 Northwest Film Festival, Highlights, Portland
INSTALLATION AND PERFORMANCE
2009-‘08 Still Point
Multi-media performance, considering the layered fluctuations and tension between
dependence and independence, and the palpable connections between the past and future.
2008 Itinerants
Multiple video projections onto various buildings and objects. Itinerant faces contemplate
the surrounding space and activities.
2006 Chamber St.
Large dual video projections on exterior walls. 10 min. loops. Homage to pre 9/11 “ground
zero” subway location.
Reflector
Multiple video projections onto various buildings and objects. 5 minute loops. Itinerant
faces
contemplate the surrounding space and activities.
2004 Fazed
Sound and video installation exploring the existential realities of time.
6 minute loop.
2001 Pause
A six-channel video and sound installation (in collaboration with artist Norie Sato).
Examination of the notion of parallel experience as it relates to simultaneity, quotidian
cycles and the space-time continuum during a 24 day period.
1999 Letters From the Hill
Video, Sound, Paper Installation. A companion piece to Gulf: a video portrait series,
inspired by the four-year correspondence between the artist and the incarcerated youth.
1997,’94 Inside Passage
Media Installation. 4 Video Projectors, 16 audio monitors.
Located at the Colman Ferry
Terminal, and Hanger at Sandpoint Art & Cultural Center, the installations explored our
collective “sense of place” using memory and the metaphor of travel to observe the past
and consider the present.
1993 No Place Like Home
Video/sound Installation, with Norie Sato, Bellevue Art Museum, Seattle. Environmental
space with nine monitors, switching between two channels of pre-recorded video/sound
and one channel of “live” video of imagery made by participants utilizing electronic drawing
tablets.
1987 MOONS, by Laura Brenner.
Two-person dialogue and movement piece. Seattle Arts Commission, New Writer's Series,
Seattle
1986 Autocratic, by Alan Lande.
Performer in series of subversive “Americana” vignettes held in the SCCC Parking garage.
Seattle Arts Commission, Seattle
1985 Rubber Blood, by Alan Lande.
Performer in large-scale audience interactive work, held in Memorial Stadium. Pioneer
Square Theater, New Works Series, Seattle
1983 Person-to-Person: Dial Direct, with Jill Medvedow.
Mixed-media window installation, 911 Contemporary Arts Center, Seattle
FILMS AND VIDEOTAPES (Selected)
2009-08 Minor Differences, Currently in production.
An HD Video Feature that follows five former juvenile offenders over 15 years.
2007 Remorse, Videotape. 90 seconds.
Primordial longing unfolds.
2004 Twitch, Videotape, :30 seconds.
Space and time hiccup.
1999-‘94 Gulf, a Portrait Series, Videotape, 92 minutes.
An in-depth look at ten juvenile offenders in maximum security. A reality check from their
point of view.
1993 Engram, Videotape, 18 minutes.
Part-fiction/part-fact, interwoven memories uncover the unspoken beneath everyday
routine.Though three characters have outwardly diverse cultures and background, they
discover a shared experience in familial relations.
1991 Can we Now Be Heard?, Videotape, 37 minutes.
Co-produced with Annie Grosshans. A series of interviews with ten very diverse women
talking
about their experience in making reproductive choices.
1990 Interruptions, Videotape, (3) :60 second spots.
Commissioned by the New England Foundation for the Arts as part of their Myth America
project, for their cablecast program," Mixed Signals ". Developed as interruptions to regular
cable programming, while using the same format as commercials, the content in the tapes
subverted the consumer intent and provided an opportunity to engage in ideas rather than
commodities. Issues included racism, gender, and aging.
1990 I Can't See Myself, Videotape, 4 minutes.
An experimental exploration in perceptual awareness.
1985 Musical Chairs, 16mm Film, 23 minutes.
A fact with fiction film about Palestinians and Israelis, homes/homelands, borders/walls,
and the need to talk.
1983 In Balance, Videotape, 15 minutes.
Without narration and traditional documentary form, this videotape finds a relationship
between popular American Culture and traditional Native American life.
1980 A Fishing People, The Tulalip Tribes, 16mm Film, 17 min.
This documentary traces the historical role of fishing as an integral part of the culture and
economy of the Tulalip Tribes of Washington.
PUBLIC COLLECTIONS
Seattle Public Library, Luminaire, three permanent installations in the N.E. Branch.
Mayor’s Office of Arts & Cultural Affairs, Artists’ Program Collection, Videotapes: Inside Passage, Engram, Gulf, and Pause.
Lowell Seattle Public School. The Videre Project. Permanent Photo Installation.
PRIVATE COLLECTIONS
Robert Coron, Seattle
Carole Fuller and Ethan Schwab, Seattle
Cynthia Hayward, Seattle
KrekowJenningsInc, Seattle
Jeffery Murdock, Seattle
Colleen Hayward, Seattle
Gloria Akin, Seattle
EDUCATION
1974 Master of Urban Planning, University of Oregon, Eugene
1971 Bachelor of Arts, Anthropology, University of California, Berkeley
ARTS-RELATED EMPLOYMENT
2009-‘89 Professor, Cornish College of the Arts, Art Department, Seattle
Teach all levels of moving digital art and super 8 film: the history, aesthetic tradition, and
production skills: camera, lighting, and editing.
1999 Acting Co-Chair, Art Department, Cornish College of the Arts
1996-‘79 Producer/Director/Photographer, Oaksen Productions, Seattle & WA DC
Operated a full service film/video production company - responsible for the completion of
documentary, and educational media concerned with public affairs, art and culture.
1996 Instructor, Artworks, Seattle Arts Commission, Seattle, WA
Created an intensive seven-week class in video production as part of a summer youth-in-
art training project for at-risk teens.
1995-‘94 Instructor, Videotek, Green Hill School, Chehalis, WA
In tandem with conducting an independent documentary at Green Hill, developed a media
production curriculum, and taught weekly classes training incarcerated youth in writing,
photography, videography, and video editing.
1994 Visiting Artist, Experimental Gallery, Olympia, WA
Taught six-week summer workshop in painting, drawing and writing to incarcerated youth
at three Washington State juvenile institutions.
1984-‘81 Founding Director, Focal Point Media Center (formerly part of and/or service),
became 911 Media Arts Center, Seattle, WA
Founded regional center for media exhibition and post-production access, serving
independent producers and artists.
1979-‘75 Planner, The Tulalip Tribes of Washington, Marysville
Design and implementation of Overall Tribal Health and Social Services Plan, an integrated
approach to employment, training, and social services. Created a tribally controlled on-
reservation health clinic.
