Wendy Wahl

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Wendy Wahl is an artist, designer and educator with over twenty- five years of professional experience. Her work has been exhibited internationally and is in a number of private and public collections including Smithsonians Cooper-Hewitt Museum, New York and the Museum of Art, Rhode Island School of Design. In 2010, she was selected for Networks, a project documenting RI artists through video and exhibition. Her public works have included a piece commissioned for the entrance of SOFA at the Park Avenue Armory, New York and has been the subject of exhibitions at the Grand Rapids Art Museum, Michigan, the Newport Art Museum, Rhode Island and Fuller Craft Museum in Massachusetts. She has received artist fellowship awards from the Rhode Island State Council on the Arts and the United States Ambassador to Tashkent, Uzbekistan selected her work for his residence through the Art in Embassy Program. She has been recognized in numerous publications including Art News, Boston Globe, Casa Vogue, Providence Journal, Metropolis, New York Times, Architectural Digest, The New Yorker, the Britannica blog, the Curated Object and the WSJ. She is a part time lecturer in the School of Constructed Environments at Parson’s New School. She received an MAE in Textile Art from the Rhode Island School of Design and a BA in Art from California State University at Northridge. She resides in Rhode Island with her husband John Dunnigan and their daughter Hannah. Wendy Wahl was born in Los Angeles in 1961.

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The pieces in this portfolio are created from thousands of pages of discarded volumes of Encyclopaedia Britannica, World Book, and the Columbia Dictionary.

The outcome of this work is an expression of my view of the connections between nature and culture. My interest is considering the associations between the tree of life, defined as the patterns of relationships that link all earth’s species and the tree of knowledge, defined as the connected branches of human thought realized in the form of writing and speaking.

This work is part of an ongoing experiment and series that uses the potency of printed text and image. I’m using a cultural artifact as my material for many reasons that include its unique physical qualities, the meanings that it carries and to recognize its symbolic status. By restructuring familiar elements that in a particular format belongs to a collective consciousness, I’m commenting on an aspect of our station in time.