CV AS .PDF HERE
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BIOGRAPHY
Gabe Duggan (b. Buffalo, NY), Assistant Professor at East Carolina University, has taught at the University of North Texas, Georgia State University, North Carolina State University, Arrowmont School of Arts and Crafts, and Penland School of Craft.

Their work has been supported by the NC Arts Council (RAPG), Art on the Atlanta Beltline (GA), Vignette Art Fair (TX); exhibitions at SECCA, Flanders, Lump, and Anchorlight (NC), and Garis & Hahn (NY); and residencies at Praxis Fiber Workshop (OH), Cooler Ranch (NY), Landfalls (NY), the Musk Ox Farm (AK), Governors Island Art Fair (NY), Ponyride (Knight Foundation Emerging Artist, MI), Art + Science In The Field (NC), Rob Dunn Lab (NCSU+NCMNS).

Recent awards include Best in Show at Fine Contemporary Craft, Artpsace NC by Mia Hall (Director, Penland School of Crafts), Engagement and Outreach Scholars Academy (ECU), and the Juror's Prize at Art on the Trails by Sarah Montross (Associate Curator, deCordova Sculpture Park and Museum).

"For this year’s Jurors Award I selected the installation by Gabe Duggan. I was so intrigued by the ambition and scale of their project that spans the small pond in Beal’s Preserve. I felt the project merged new craft technologies and site-specific land art installation into an original art form. The dynamic tension of the Dyneema formed a kind of spider web across the water. I liked that the work suggested a very open kind of mending as there was a lot of space around the threads. RECOHERE also made me as the viewer look more closely at the stunning natural setting of Ice Pond, and in that, I felt a sense of restoration and renewed curiosity."
- Sarah Montross; Associate Curator, deCordova Sculpture Park and Museum

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. Images created emanate inequalities within contemporary exhibitions of power, often through the performance of gender, labour, and material context. 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 classed as 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


Presentation: test run of Glitched Metaphors: Dysfunction in Hand-Woven Digital Jacquard.