BIO
Beth Grabowski was born in Washington DC and grew up in Virginia in the USA.  

She is currently the Zachary Taylor Smith Distinguished Professor of Art at the University of North Carolina-Chapel Hill, where she has taught printmaking and book arts since 1985.
Beth is co-author, with Bill Fick, of Printmaking, A Complete Guide to Materials and Processes.  She served as president of SGC International – from 2012-2014.

EXHIBITIONS
From Here to There, University of Colorado, Boulder; Edditional Tools, Project Space Gallery, SUNY-Oneonta; UpCycle, East Carolina University, Greenville, NC. Among others

RESIDENCIES

Tom Blaess Atelier, Bern Switzerland; Frans Masereel Centrum, Kasterlee, Belgium; Sanbao Ceramics Institute, Jingdezhen, China; Getty Artist-in Residence, Colorado College

Beth's residency at Proyecto ‘ace is supported with a Senior Faculty Leave from the Provost’s office of the University of North Carolina at Chapel Hill
UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL

Beth Grabowski

RESIDENCIES

(Re) Read

25.04.2016 to 13.05.2016



Beth Grabowski’s art explores aspects of identity and relationship experienced from the perspective of motherhood. Issues such as nurturance, sentimentality, expectation, domestic labor, familial hierarchy and family narrative motivate her work. The work frequently exists as a documentation of the process of familial relationship through collaborative works. 

STATEMENT

My work from the past several years has been motivated the idea of a contemporary nostalgia; a longing for coherency borne more of an apprehension of an uncertain future rather than a sentimental desire for a past. It is a phenomenon particular to contemporary life as forces beyond individual control (natural disasters, global conflict, political systems, the alacrity of technological change) buffet us around, but in a paradoxical twist, also unite us; we are simultaneously inconsequential and connected. 
In my most recent work, I have responded further to idea of the paradox through the use of language. My fascination with books, language, and communication is often based more on what is unsaid than said. Comprehension is elusive at best. Communication is always dependent on specific frames of reference; spatial, temporal and cultural.  If we are attentive to the changing conditions, revised understanding or new meanings emerge.  More often, however, we hold onto assumptions and understandings supported by heuristic bias because we cannot imagine an alternative.  Eventually intuition fails us because our ability to predict depends on a known context.  Stability, and even progress toward new understanding require building upon the known.  
My art emerges from these ideas; reconciling the known and unknown by consciously considering the familiar with the unfamiliar by “re-reading” existing forms in search for a new idea.