CV AS .PDF HERE
Please CONTACT directly for teaching portfolio.
view/download research portfolio (~2014-2021, large .pdf) here
BIO
Gabe Duggan (they/them, b. Buffalo, NY) has had residencies at Watershed (IE), Fish Factory (IS), Sculpture Space Inc. (NY), Praxis (OH),
Cooler Ranch (NY), Musk Ox Farm (AK), Governors Island Art Fair (NY), Ponyride (Knight Foundation, MI), and Rob Dunn Lab (NCSU+NCMNS).
Awards and Special Projects include: Field Projects at Mother In Law's Gallery (NY; 2025, 2024),
the Integrated Coastal Programs Fellowship (NC; 2022), and Juror's Prize at Art on the Trails by Sarah Montross (MA; 2021).
Duggan has previously taught at the University of North Texas, Georgia State University, North Carolina State University, and the Penland School of Craft.
They serve on the Textile Society of America Board, and as Faculty Senator and Associate Professor at East Carolina University.
STATEMENT
I use repetition, balanced tension, and precarity to simulate liminality and interreliance between binary positions of power.
Silk and steel echo coercive violence inflicted upon gendered-bodies and non-human species in 'hunter jumper dressage...' (2021-2025).
I question the performance and very terms of functionality of neurotypes through marginalized materials in 'differing planes' (2024-2025),
and reconnect with knowledges historically erased, such
as pre-colonised languages in ‘bealach', 2023-2024. ‘New Assignment’, 2024 echoes
impact of procedures such as the hymenectomy via handworked aluminum and found square pipe, suspended together precariously in space.
I construct three-dimensional installations through repetition that engage with four-dimensional space via ephemerality or perpetuation.
By laboring tediously over mommentary structures I challenge definitions of function and permanence, expanding lineages that have been historically erased.
'cacophony’ (2023) is a monument to nonspeaking survival and the infinite richness in such experiences. ‘cacophony''s modular nature further supports
multiple levels of accessibility for the artist.
Land-based work such as 'no one knows' (extent since 2020, NY), are primarily survived in the datasphere, etched like graffiti across satellite-based surveillance
systems. ‘VISKUBIT' (2023, IS), and 'violence/consent' (2024, NY) use the body as a subtractive technology to question consent through the very making and
perpetuation of the work.
My work constructs spatial experiences ranging from the intimate to the monumental in order to challenge systems of dominance.
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