Exhibition: October 3 – November 11
Gallery Reception: October 7, 2016; 5:00pm-7:00pm
Transitory Boundaries is a large-scale installation created by Trudy Denham & Catherine Armbrust. The work surrounds viewers with soft forms to suggest watery and earthen spaces. With this immersive environment the artists address concerns about fresh water resources, building awareness about issues of supply and demand within our own domestic borders.
Denham and Armbrust met in graduate school at the University of Missouri and have been designing installations and other art objects together since 2010. Their work often focuses on play and temporality of desire and domestic space.
Trudy Denham lives in Missouri and works as an Adjunct Assistant Professor for the University of Missouri Department of Art. Denham has a M.F.A. in fiber art, M.Ed. in art education, and a B.F.A. in sculpture. Her art has shown throughout the United States, Ireland, and Scotland. Denham was one of the 15 emerging artists chosen to receive the 2011 Outstanding Student Achievement in Contemporary Sculpture Award sponsored by the International Sculpture Center. She was also recognized regionally at the 2011 Innovations in Textiles 9 symposium at the Art Saint Louis Fiber Focus exhibition when she won Best of Show. Denham’s work has been published in Sculpture (October 2011) and Showcase 500 Paper Objects (2013).
Catherine Armbrust grew up in Little Rock, Arkansas but has enjoyed life in various parts of Missouri since 1989. An alumnus of the University of Missouri, she earned her MFA in Fibers & Sculpture and BA in Anthropology. Armbrust currently lives in Columbia, Missouri and works as an Adjunct Assistant Professor in the MU & UMKC Art Departments. Armbrust was the Gallery Visitors’ Choice Award winner at the 2014 Kinsey Institute Juried Art Show and the 2013 Best in Show winner at the 20th annual Women in the Arts in Columbia, Missouri.
Armbrust’s mixed media work conflates biological and cultural themes in the forms of costumes, dioramas, collages, soft sculpture, and installations. In that work she channels a Rococo spirit to parody human methods of collection, ornamentation, pleasure, play, and seduction.
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