Gabrielle Duggan gabrielle duggan

WORK

ABOUT
 

 

CV AS .PDF HERE
Please contact directly for teaching portfolio.
Test run of presentation, Glitched Metaphors: Dysfunction in Hand-Woven Digital Jacquard.

BIOGRAPHY

Gabe Duggan (b. Buffalo, NY) combines techniques of traditional fiber work to push material boundaries, establishing and challenging repetitive systems of tension and balance. Building from experience and education in fine art, fashion, and textiles (SUNY Buffalo, FIT, NCSU; Hrafnhildur Arnardóttir), their work has been supported by the NC Arts Council (RAPG), Art on the Atlanta Beltline (GA); exhibitions at SECCA, Flanders, Lump, Anchorlight(NC); Arrowmont (TN), and Garis & Hahn (NY).

Duggan has been a Knight Foundation Emerging Artist at Ponyride (MI); a Fellow at Salem Art Works (NY); and an R.R. Dunn Artist in Residence in collaboration with Adrian Smith's laboratory in the North Carolina Museum of Natural Sciences. Residencies include: Landfalls Performance Process (Franklin Chthonics, NY), the Musk Ox Farm (AK), Governors Island Art Fair (NY), The Bascom (NC), IndieGrits Film Festival (SC), Artspace (NC), Art+Science in the Field Center (NC), Drop Forge + Tool (NY, run independently off-site due to Covid19), and Cooler Ranch (NY).

Assistant Professor at East Carolina University, Duggan has taught at the University of North Texas, Georgia State University, North Carolina State University, Penland School of Craft, and Arrowmont School of Arts and Crafts.


STATEMENT
My work simulates binary systems to expose interreliance between dichotomies. Textile strategies, technology, and materials have been a reliable foundation for my work to reflect social, political, and historical implications of power.

Objects and spaces are constructed precariously by applying repetition and potential energy to disparate materials. The images created emanate inequalities within contemporary performances of gender, labour, and exhibitions of power. When performing with sound, image, or as image, I step into these roles to inhabit spaces of both lost and self-possessed agency.

By building elaborate, inherently vulnerable systems, I render impermanence and precarity prominent, historically considered (gendered and classed) detriments to material and visual culture. Materials and shadows shape-shift with foregrounds and backgrounds depending on real-time perspective, undermining initial perceptions and disorienting spatial boundaries and aesthetic hierarchies.



JAN. 02, 2019 Indy Week; Our Top 5 Art Shows of 2018
"In a year with many exhibits by and about women, from art-historical corrections to #MeToo protests to statements of defiant self-love and positive empowerment, Duggan’s Carrack show stood out. Fiber techniques and structures in works spanning several media expressed the complex tensions of navigating more interlocking patriarchal systems than a person can keep track of. The works were nuanced, ambiguous, even impenetrable. One consisted of a bathtub beneath a hanging network of thread and wire. A pump drew water from the tub and released it into the network, down which it dribbled unpredictably back into the tub, onto the floor, or onto a plastic sheet. It made a mess. You kept touching the network to tweak the flows. It was beautiful and ugly. It worked and it didn’t work. Nothing about it stayed the same or was easy. This aesthetically understated show required the kind of deep engagement that our social problems around gender require if we’re going to progress. Long looks see more." —Chris Vitiello