Barb Burwell
NWDC is pleased to share the art and ideas of Barb Burwell. You can see some of Barb's work currently installed at the BAM museum store.
Barb Burwell works as curator of gathered information. She collects images, textures, and forms, both physically and in her mind’s eye. Her work as an artist includes painting, drawing, mixed media works on paper, wood panel, and canvas as well as sculpture. She also works as a fiber artist that employs fabrication techniques such as machine piecework, quilting, appliqué, and hand embroidery.
"Looking Out Looking In" is her current body of work that explores the idea of one's internal/external landscape and how specific locations connect to feelings of nostalgia. The work is a collection of metaphorical and visual perspectives that are a direct response to her experiences collected afield, by witnessing the landscape and experiencing the surroundings of the Pacific Northwest.
She takes much inspiration and nourishment from the outdoors and does the real work of art-making through long, contemplative walks. Burwell was awarded a BFA from Pacific NW College of Art (Portland, OR) has worked and taught in both private and public art education, and currently works from her Portland, Oregon-based studio.
Diary No.1, 42" x 34", Quilt, 2023
Looking out, Looking In: Yellow Flower, 67.5" x 58", Quilt, 2020
How were you introduced to art?
I was a creative child with a big imagination, always making something or drawing. My grandmother taught me how to sew and tat (a lace-making technique) at a very young age. I was enrolled in an art-focused pre-K program and took many classes. I've been involved in art all of my life, both in daily life, working life, and my education.
Where do you find inspiration when creating new work?
My greatest inspiration comes from being in and observing the landscape, natural or urban. Recently I've done two very impactful residencies, at PLAYA in Summer Lake, Oregon, and at the Verdancy Project in Troutdale, Oregon, spending time immersed in the landscape.
What do you consider your greatest artistic achievement?
Everything I've made up to this point has been significant and of value, regardless of its success, but, as a process-driven artist, my current or most recent project is always the most important, until I start the next one. "Listen, Gather, Reminisce" is a land art installation I just completed for a group show called Terra Incognita. It was a six-month project where I made quilts and placed them within the landscape, letting the landscape witness time, and my translation of its stories in textiles and quilts.
What is the quality you most like in an artist?
The ability to, through imagination, be able to capture that creative spark, conceptualize it, and manifest it into an object. It never ceases to amaze me the abundance of creativity that people possess.
Which living artist do you most admire?
My two current favorites (because they are always changing) are Cecily Brown and Sheila Hicks. They are daring women who aren't afraid of color.
Fabric Sketches: Seeking Place 2, 8"x8", 2023
Fabric Sketches: Gathering Language 1, 6"x6", 2023
If you could change one thing about yourself, what would it be?
Let go of my perfectionist tendencies. Sometimes I get trapped in the loop of over-thinking, over-working, and over-conceptualizing what I am working on. I need to let the work be what it wants to be.
What is your most treasured possession?
A sweet handmade doll that was given to me on the day I was born, made by a family friend. A crummy, worn-out paintbrush that I've had for years is a close second.
Who has had a significant influence over your work?
Jack Osier and Joe Cunningham. Jack was my high school art teacher, he gave me the courage to pursue art in a formal way, as a career. Joe showed me that you can approach making a quilt the same way you can approach making a painting or sculpture or any other "fine art" work.
How has your studio practice changed?
On the day-to-day, it hasn't changed much. Working in my sketchbook has become a very important aspect of my practice and has deepened significantly over the last few years. I really have grown to appreciate that this is how I get to spend my time. What an honor and a privilege it is to do so. The time I spend in the studio is so precious, I love it.
What is your idea of perfect happiness?
Embracing the process, living in the moment of creating and seeing the process realized.
