TWELVE VOICES FROM ONE: Jean Dahlgren

Wednesday, April 4, 2012

Jean Dahlgren

JEAN DAHLGREN

Jean Dahlgren creates art by layering dye and paint on fine cloth that allows light and shadow to add the "end" to each story. The finished story cloths have been exhibited in galleries throughout Texas. The love of these processes has led Dahlgren to teach both curious beginners and advanced fiber artists at the Dougherty Art Center in Austin, Texas. One of the greatest rewards of teaching is to see students grow in their work and develop their individual voices.

ARTIST STATEMENT

Everyday events, which touch all of us, are the basis for my current work. I start with a vague idea of what I would like to say. Sketches are drawn and images assembled. The joy in what I create is in the process. The work and I begin a dialog. As each layer of color and print is added, the piece begins to reveal itself. When the last layer is added the story is complete.

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This exhibition represents nearly three years of intense and dedicated study on the part of the participants. The Art Cloth Mastery Program 2010, in which they were enrolled, required five week long sessions in the San Antonio studio, in addition to demanding assignments which were addressed during the interim periods.

Artists interested in surface design processes are at a disadvantage in this country. Most opportunities for study require either enrollment on site at a university or college, or are offered as week-long workshops through adult education summer programming. The inability to relocate to a program venue inhibits artistic mastery, as does the limited experience of a week’s class without a systematic follow-up.

The Art Cloth Mastery Program was designed to address this reality. The selected participants study surface design processes on cloth, and also color, design and the articulation of a personal visual language. Each artist is required to complete a research project related to the dyes, chemicals or paints used as part of the patterning palette. When assembled, these projects will become a catalogue of research worthy of contributing to the surface design field at large.

Professional behavior is also a topic of discourse. Artists prepared a resume, visual documentation, an artist’s statement and a biography as part of the requirement for completion of the program.

This exhibition is a sampling of the finest work being presented by serious students of surface design today. Each of these artists will continue to generate studio work for exhibition after the program is completed. A few may choose to extend their circle of influence by teaching. Others may decide to write a book or produce some other lasting contribution to the field. The future is rich with possibility. It has been my great pleasure to accompany them on this exciting path. I congratulate each on the efforts of the past two and a half years.

Jane Dunnewold