http://www.deborahboardman.com
http://rootingchicago.org/
https://vimeo.com/user4394705/videos

Bio

Adjunct Associate Professor, Painting and Drawing (1997). BA, 1980, Mount Holyoke College; BFA, 1984, Massachusetts College of Art; MFA, 1987, School of the Museum of Fine Arts, Boston; additional study, 1981, Atelier Lucio Loubet, Paris. Exhibits: Heskin Contemporary, New York; Gahlberg Gallery, College of DuPage, Illinois; Chicago Cultural Center; Hermit Foundation, Klaster Plasy, CZECH REPUBLIC. Awards: Community Art Assistance Program, Illinois Arts Council; Regional Artists' Project Grant. Collections: Chicago Cultural Center, Houghton Library, Harvard University.


Experience at SAIC

At SAIC, I have the privilege of working with many international students, and have felt greatly enriched by these experiences. It is imperative that we members of the SAIC community approach our practice with an awareness of the fragility and interdependence of the global world.

I am greatly inspired by both the many visionary colleagues teaching and working at SAIC as well as by my students. I am challenged and rewarded by the pressure cooker environment where new forms are encouraged and brought to fruition.


Personal Statement

I am driven and motivated to better understand what I perceive as a basic human need to fulfill ones potential as a creative and ethical being, a whole and distinct individual and thriving and contributing member in community. With SAIC students I explore ideas about art practice through researching the relationship of ethics to aesthetics. These themes inform all I do in the studio and all of my work with students. Discovering and calling attention to existing sets of relationships through ones art practice embraces a sense of connectedness and thereby increases ones creative expression.

I help my students to be knowledgeable about the past and well versed in current developments, to know why they choose to make art, to be discerning about their materials and to see their choices as part of a historical continuum. I want them to understand that the decision to practice art has social implications, that it cannot be a neutral set of actions, and to see that their choices have impact and meaning, both on their own terms and, whether they intend it or not, against the backdrop of history and contemporary practice.

My seminars include readings and discussion of perspectives to enable students to see the historical relationship of the arts to power as manifested in art practice. My goal is for each student to become conscious of his or her attitudes and assumptions about being an artist and what potential there is for art to transform themselves and the world. Ultimately, this process brings students greater clarity. In exploring these issues with my students, I offer various artistic models to help them clarify their own process and to enable them to validate the social place of their practice.


Current Interests

My art practice encompasses the solitary contemplative activity of studio painting as well as collaborative and site-specific projects that incorporate divination techniques such as dowsing, and other media including animation, video, installation, and performance. Two recent projects , Double Ecstasy and Seven Currents,  2012, demonstrate how I incorporate and animate physical (such as water) and spiritual currents divined from the natural environment in which my exhibition spaces are located. For the former, I created a painted animation, a poetic cultural portrait of my first seven-week stay in India with a soundtrack composed of voiceover, recorded street sounds, and temple singing. For the latter, I created an artist book that links historic and fictional accounts of the historic Chicago mansion hosting the project, 6018NORTH. I responded to the information provided by professional dowsers, people who use a divining rod to search for underground water or minerals. The project highlighted haunting by ghosts; it also mapped fault and water lines beneath the building on the basement floor by removing paint and signaled the invisible by the placement of subtle installation elements and signage. The viewer was thus invited to imagine and emotionally connect with the mansion?s layers of history and architecture as well as the ecology of its location near Lake Michigan in Chicago.

 

Disclaimer: All work represents the views of the INDIVIDUAL ARTISTS & AUTHORS who created them, and are not those of the school or museum of the Art Institute.