Artist Statement
Selected Reviews
Professional History
Notes on Portfolios
<< Back

For All We Know / Rose Was All There Was, 2015
with poet Elisabeth Frost
What do we discover when we look? How do we know what it is we’re seeing? The questions behind For All We Know / Rose Was All There Was concern visual perception and evidentiary knowledge.
With the intent of creating a series of images about the preservation and scientific interpretation of jelly fish embryos at Friday Harbor Labs, we were taken instead with the beautiful effects of time and color on these microscope slides: the aging and cracked glass, the apparent decay of the medium used to preserve the specimens, and the accidents of line and color that result. We deliberately leave behind the original purpose of these artifacts—that of scientific study—along with their identifying marks, to ask how we experience something as fundamental as light, as transformative as color, as fragile as glass.
In meditating on the luminous images in Rose Was All There Was, Elisabeth embraced the notion of the circle and its color fields to write about vision itself. In For All We Know, the wordless rectangles are visual abstractions. The very absence of text other than the title signals a wide-ranging openness to subjective interpretation.­

What is Left, 2014
with poet Elisabeth Frost

What Is Left moves between the abstract and the concrete, in both image and text, to explore the charged and disorienting experience of grief. Each panel displays a massive pile of discarded oyster shells, which Dianne photographed while she and Elisabeth shared an artist’s residency at the Willapa Bay AiR in Oysterville, WA. Abstracted into pure line, these mounds of mortal remains become desiccated, lifeless landscapes that bear down on the text, excerpts from Elisabeth’s poem “Gone,” a meditation on dying and grief.


(T)here, 2014
with poet Elisabeth Frost

The work contrasts a modern, clinical experience of institutionalized dying with the iconography of a more metaphysical meditation.Merging abstraction with figuration, (T)Here deliberately disorients the viewer/reader: the ‘she’ of the poem may be the one dying or the one bereaved. 

Madonna Comix, 2012 
with poet Celia Bland