arabesqueJudy Onofrio

Jennifer Onofrio Fornes

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INTRODUCTION

Judy Onofrio and Jennifer Onofrio Fornes have wanted to showtogether “forever.” I have wanted to show them together, if notforever, for quite a long time. Both desires have come together inArabesque, a show that is as graceful and poignant as the name implies.

When the idea for a mutual exhibit was forming, I visited a group showthat included work by both mother and daughter. I knew then thatJudy’s new sculptures that were just beginning to include bones andJennifer’s mysterious figurative photographs would make a powerful,engaging show. At that time I didn’t realize just how powerful. Judyhad undergone cancer treatment, a process that altered both of theirviews of the material world. The culmination of their experiences andbackgrounds, linked with such a life-altering situation, produced thework presented in this visceral, beautiful show.

Judy‘s bone sculptures and Jennifer’s painted photographs combine inArabesque to engage the viewer through humor, grace, and poignancy,while the art invokes a desire to explore its mysteries.

JILL EWALDDirector of Flaten Art Museum

Support for this catalog was provided by the Ella and Kaare Nygaard Foundation, St. Olaf College FineArts Fund, and Dr. Burton Onofrio. Photography of Judy Onofrio work by Rik Sferra and JenniferOnofrio Fornes work by M. Bass.

Jill Ewald

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ARABESQUEby Cynde Randall

When I asked Judy Onofrio and her daughter Jennifer Onofrio Fornes why theywere presenting an exhibition together, Judy replied, “We’ve wanted to do thisforever.” Forever is a compelling idea. It has no beginning, no end, and, magically,is most discernable in the present moment. In the here and now it is clear: thetwo are kindred spirits and serve as the staunchest champions for each other.

As visual artists, mother and daughter are aligned on a core level. They sharea preoccupation with the material realm, wielding near alchemical force to create,re-contextualize, or transform myriad objects into powerful works of art. Overthe years, they have produced significant and divergent bodies of work: Jennifer’spsychologically charged art has lingered in the darker recesses of the world, whileJudy’s fantastic iconography has celebrated the abundance of life.

Their most recent work, featured in the exhibition Arabesque, illuminates ashift in consciousness and material form that is nothing less than transformational.It may be said that Judy and Jennifer have reinvented themselves, releasing theirattachment to earlier visual means and arriving at an aesthetic common groundthat is both elegant and sublime. Here, the object or figure no longer invites apsychological or narrative read, but serves as a departure point for reflection onthe great mystery and transitory beauty of life.

In the early years, mother and daughter were steadfast companions. Theyspent countless hours working side-by-side in the studio or traveling on a never-ending quest for flea markets and outsider art, where Judy collected the multitudeof objects she later incorporated into her sculptures.

Judy modeled many things for her daughter. She is an amazing self-taughtartist, an advocate for other artists, and a leader in the arts community. She isexpansive in her thinking and fearless about exploring new territories. She main-tains exuberance for life and grand visions for her projects. Over the course ofJennifer’s childhood, Judy created large installations of clay sculpture, built fabricenvironments, created monumental wood constructions, and generated outdoormonuments and pyrotechnic performances. All of these things made an extraor-dinary impression on Jennifer, who, to this day, cites Judy as the most powerfulinfluence on her artistic identity.

When Jennifer left home in 1984 to pursue her life as an artist, it was clearfrom the start that she was immune to the conventional boundaries of media. Asshe developed her artistic practice, she found a voice that was uniquely her own.

Jennifer often employed the object as a psychological surrogate. Often boundor confined, Jennifer’s surrogate objects spoke to the angst of entrapment andoppression, or mortality. The darkness of this early work was viscous, crusty, andpalpably painful (and would inform her work for the next two decades). Like her

Judy Onofrio and JenniferOnofrio Fornes

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mother, as she continued to work and refine her aesthetic, she explored materialcues of mortality, creating powerful works in the spirit of momento moris.

Judy began to create jewel-encrusted shrines and sculptures from theassortment of objects she had collected for years. Like an obsessed magician, sheincorporated literally hundreds of objects into each piece of art. These delightful,embellished sculptures embraced her passion for outsider art (e.g., the WattsTowers in Los Angeles and the Grotto in Dickeyville, Wisconsin) and her obsessionwith collecting. They became her signature on the national scene and setting thestage for her practice through the next decade.

Jennifer, too, had engaged a new body of work. While she had always pursuedthe psychological self, in 2004 she embarked on a photographic inquiry of thephysical realm, using her own body as her material subject. Some of her imagesread like strange dissected scientific specimens, divorced from any particularidentity or era. Many are framed in oval or circular shaped antique hat-stretchingframes, merging the sensibility of Victorian portraiture with a contemporarydeconstruction of the “nude.” The animated feel of this work recalled the motionstudies of early 20th-century photography and evoked a multiplicity of organicforms, such as wings, illuminated landscapes, or clouds.

In 2007, as Judy was recovering from a serious illness, both mother anddaughter experienced a profound shift in consciousness that resulted in a trans-formation in their art. Judy perceived a shift in her relationship with objects whenshe became interested in a box of bones that had been in the studio for years.

The resultant series, Reclining Women, proved transitional. Several monthsinto it, Judy created a radically different work called Bone Basket. “One day, I gotout of bed and went directly to the studio and began working with a pile of bones,”she said. Fixing together several large cow leg bones and pelvic bones, she built abasket-like structure. In the “basket” she placed a jawbone, still intact with itsteeth, inset with a seductive, hand-carved pear. “I loved the color and flowinglinear relationships of the bones. I knew that it was a real breakthrough,” saidJudy. Bone Basket opened the door to a whole new way of working.

A new way of thinking about bones came from Gallen Benson, her longtimefriend, artist, and devoted student of qigong and native healing practices. “Gallenhas been a transformative influence on my understanding of healing and enlight-enment. When we focused on the bones, he helped me to see them as energy;he showed me ways to work with both the physical and spiritual aspects of thatenergy,” Judy said. Now taking her cues from the palette and flowing forms of thebones themselves, Judy honed in on a new kind of rhythm. She prepared a seriesof large oval panels, painting them, layer after layer, with fleshy creams and whites,letting the paint pool, puddle, and drip into lakes of color. In some she embeddedbits of mirror to capture the viewer’s passing reflection in the surface of the work.

Trace detail

Mrs. B

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To each oval she attached bones, curvilinear fragments of architecture, and aselect number of hand-carved fruits and flowers, all of which she painted tomatch the creamy ground. “The color felt like an energy force, something pulsingwith life,” said Judy. Her new palette evoked the freshness of life’s beginning, aprimordial ground sprouting with organic forms, a place where anything is possible.

The curves and swells of each composition create a never-ending arabesque ofform. These new arrangements, while dismissing the narrative, continue Judy’sinvitation to the viewer to linger over discrete objects and aesthetic detail. Simul-taneously, they call for a moving and flowing visual experience with the totalcomposition. By releasing the narrative, Judy asserts the sublime experience of thepresent moment. Transcending the limits of representation, she presents realityin the first degree.

For Judy, this work is a meditation on relationships. “To me, they feel likeprayers,” she says. We cannot escape our own mortality when considering Judy’ssculpture. As we follow the flow, we can trust that our fear exists only through thelimits of our comprehension.

Jennifer, likewise, perceived a shift in her relationship to the object. In 2008she began a new series of photographs inspired, in part, by the sacred dance ofthe Whirling Dervishes, the Sufi mystics who, since Rumi, spin to release theirattachments and align with the divine. The Dervish’s moving meditation spins ona sacred axis, his long white dress and tall hat creating the shape of a cone, pointingever skyward. Jennifer was intrigued by the perfect balance of this centered intentionand the symmetrical form of the spinning body and dress.

Meditating on the Dervish and transitory organic entities, such as clouds, sheset out to release the trappings of her earlier practice. Jennifer enacted a series ofintense performances before the camera. Working in a ritualized way over manymonths, Jennifer created a series of large-scale gelatin silver prints. Painting sectionsof each print with dark, earthy oil pigments, she enhanced the depth of the dark andthe clarity of the light (reminding us, too, that the photograph is but an object).

Collectively, these images reveal her illuminated transformation. Ending thespin in Deep Sleep, the dance is done, the figure has vanished – and only atmos-pheric light remains.

Judy and Jennifer present the elegant and beautiful Arabesque. The exhibi-tion offers many teachings: Nothing is fixed. The energy of the material realmnever ends. Everything is changing.

CYNDE RANDALLCynde Randall is an artist, writer, and gallery directorof Swan Song Contemporary Arts in Maiden Rock, Wisconsin.

Bone Basket

Deep Sleep detail

JENNIFER ONOFRIO FORNES

JUDY ONOFRIO

arabesqueA MOTHER-DAUGHTER EXHIBITION OF SCULPTURE AND PHOTOGRAPHY

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JENNIFER ONOFRIO FORNES

As a mixed-media artist, I gravitate toward materials that address myconceptual concerns. Photography’s ability to function as a memorytrigger is a facet of the medium that I am drawn to. We look to photog-raphy to claim our place in the world and our understanding of theworld. Yet this understanding only reflects a bias that is reflected in thephotograph taken and in the memories that we bring to the image. Theimage itself does not necessarily embody this wealth of information, itsimply provokes the thought, taps a nerve, or perpetuates an idea. Thefraction of a second that is recorded on film not only speaks to thespecific moment that the event took place but to the past and the un-derstanding that there could be great gaps between the two. These gapsare what I explore in the studio.

Jennifer Onofrio Fornes (American, b. 1966) has exhibited throughout the Midwesternand Southeastern United States. She earned a B.F.A. from the University of Wisconsin,Madison and an M.F.A. in sculpture, photography, and drawing from the University ofCalifornia, Davis. She taught sculpture, installation, photography, and drawing at theUniversity of Minnesota, Morris, and she currently teaches photography, 3-D design,and world humanities at Augusta State University. Jennifer lives with her husband,Karl Fornes, in Aiken, South Carolina.

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JUDY ONOFRIO

In the last two years, I have used my studio practice to process my expe-rience of mortality, renewal, and healing. The resulting series, Stories ofReclining Women,mirrored my journey to regain my health and was thebridge to my current work in the exhibition Arabesque.

Stories of Reclining Women are self-portraits, to be sure, and represent mygratitude for the support of family and friends. They are constructedof my repertoire of sculpted and embellished forms with the additionof bone. Gradually, as the series evolved, the female figure disappearedcompletely. The new work transformed into abstracted assemblageswith an emphasis on animal bones, decorative architectural elements,and hand-carved fruit and flowers, all of which swim in oceans ofpaint. The process of working with animal bones made me increasinglyaware of their organic beauty and the life they once supported — lifethat is still visible in their curves and surfaces. Through my intuitivestudio practice, I sought to move beyond a specific narrative and reachtoward a universal experience of beauty that would speak of the transi-tory nature of life.

In the series Arabesque, fertility and eroticism live side by side withmortality and fragility. It is my hope that this work will evoke not onlya memory of the Garden of Eden, but celebrate the ongoing cycle ofever-changing life, full of expectation and promise. For me, this workis about my healing process and the celebration of being fully alive.

Judy Onofrio (American, b. 1939), a self-taught artist, has exhibited her sculpturesand mixed-media art nationally and internationally. Her artworks can be found inpublic and private collections all around the world, from Australia to Finland, andfrom coast to coast and all parts in between in the United States. The excellence of herwork has been, and continues to be, acknowledged through numerous grants and awardsthat include the prestigious Bush Artist Fellowship, and the McKnight FoundationDistinguished Artist Award. Judy currently lives with her husband, Burton Onofrio,in Rochester, Minnesota, where she also maintains her artist studio.

OF THE DISTANT AND FAMILIAR2010 silver gelatin print, oil38.75 x 27.75 x 3.5 inches

HYDRANGEA2009 mixed media42 x 28 x 16 inches

FRENZY2010 silver gelatin print, oil38.75 x 27.75 x 3.5 inches

BONE BASKET2008 mixed media20 x 23 x 26 inches

DEEP SLEEP2010 silver gelatin print, oil32.75 x 23.5 x 3.5 inches

FLUX2010 mixed media74 x 36 x 36 inches

MORTAL COIL2010 silver gelatin print, oil32.75 x 23.5 x 3.5 inches

OW!2009 mixed media

11 x 14.5 x 5.5 inches

WHISPER IN DUST2010 silver gelatin print, oil38.75 x 27.75 x 3.5 inches

MEMORY2009 mixed media31 x 35 x 15 inches

PASSAGE2010 silver gelatin print, oil38.75 x 27.75 x 3.5 inches

SPROUT2009 mixed media34 x 25 x 16 inches

INK2010 silver gelatin print, oil38.75 x 27.75 x 3.5 inches

RHYTHM2009 mixed media58 x 36 x 16 inches

WITHIN/WITHOUT2010 silver gelatin print, oil38.75 x 27.75 x 3.5 inches

SCEPTER2009 mixed media44 x 24 x 11 inches

SMOKE2010 silver gelatin print, oil38.75 x 27.75 x 3.5 inches

OASIS2009 mixed media36 x 55 x 16 inches

FALLING AWAY2010 silver gelatin print, oil38.75 x 27.75 x 3.5 inches

THRIVE2010 mixed media44 x 11.5 x 9 inches

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BIRTHPLACENew London, Connecticut

EDUCATION

Sullins College, Bristol, Virginia

GRANTS AND AWARDS2005 McKnight Distinguished Artist Award, McKnight Foundation2001 Minnesota Crafts Council Lifetime Achievement Award2000 Rochester Art Center Lifetime Achievement Award1999 Bush Artist Fellowship, 1998-991995 McKnight Foundation Fellowship in the Visual Arts, 1994-951994 Arts Midwest/NEA Regional Fellowship Grant, 1993-941993 Minnesota State Arts Board Career Opportunity Grant1983 YMCA Women of Achievement Award, Rochester, Minnesota1978 Minnesota State Arts Board Fellowship Grant

SOLO EXHIBITIONS2009 Jungle Dance, Sherry Leedy Contemporary Art, Kansas City, Missouri2008 Ringmaster: Judy Onofrio and the Art of the Circus, Chazen Museum of Art, Madison, Wisconsin

Stories of Reclining Women, Thomas Barry Fine Arts, Minneapolis, Minnesota2007 Voila!, Sherry Leedy Contemporary Art, Kansas City, Missouri2005 Come One, Come All, Traveling Exhibition 2005-06

Daum Museum of Contemporary Art, Sedalia, MissouriArkansas Arts Center, Little Rock, ArkansasRochester Art Center, Rochester, MinnesotaThe North Dakota Museum of Art, Grand Forks, North Dakota

2004 New Sculpture, Thomas Barry Fine Arts, Minneapolis, Minnesota2003 SOFA, Sculpture Objects and Functional Art, Chicago, Illinois,

Sherry Leedy Contemporary Art, Kansas City, Missouri 1995-20082000 The Greatest Show on Earth, Sherry Leedy Contemporary Art, Kansas City, Missouri1995 Temptation, Gallery, Sherry Leedy Contemporary Art, Kansas City, Missouri

New Sculpture, Thomas Barry Fine Arts, Minneapolis, MinnesotaJudyland, Laumeier Sculpture Park and Museum, Saint Louis, Missouri

1993 Judyland,Minnesota Artists Exhibition Program, Minneapolis Institute of Art, Minneapolis, MinnesotaJudyland, North Dakota Museum of Art, Grand Forks, North Dakota

SELECTED GROUP EXHIBITIONS2008 SOFA, Sculpture Object and Functional Art, Chicago, Illinois

Sherry Leedy Contemporary Art, Kansas City, Missouri, featured SOFA Artist 20082007 Cheongju International Craft Biennale, Cheongju City, South Korea2006 Folk Nouveau,Metro State University, St. Paul, Minnesota

The Art of Whimsy,Olmsted County Historical Society, Rochester, MinnesotaEvermore,Minnesota Museum of American Art, St. Paul, Minnesota

JUDY ONOFRIO

Dance

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Tooth and Claw: Creatures Imaginary and Real, Tory Folliard Gallery, Milwaukee, WisconsinArt Chicago, Chicago, IL, Sherry Leedy Contemporary Gallery, Kansas City, MissouriArt Chicago, Chicago, IL, Tory Folliard Gallery, Milwaukee, Wisconsin

2004 A View from America: Contemporary Jewelry, Royal Melbourne Institute of Technology, Melbourne, AustraliaPlay Ball!, Thomas Barry Fine Art, Minneapolis, MinnesotaArt Form, West Palm Beach, Florida, Tory Folliard Gallery, Milwaukee, Wisconsin

2003 Greatest Show on Earth, Sherry Leedy Contemporary Art, Kansas City, MissouriWomen On The Edge, Duane Reed Gallery, St. Louis, Missouri

2002 Of and About Clay, Gallery Hertz, Louisville, KentuckyNorthern Clay Center, Two-Person Exhibition, Minneapolis, Minnesota

2001 Minnesota with a Twist, Fredrick R. Weisman Art Museum, Minneapolis, Minnesota1999 The Figure in Contemporary Sculpture, The Tweed Museum of Art, Duluth, Minnesota

A Bountiful Beginning, Frederick R. Weisman Art Museum, Minneapolis, MinnesotaWoman in theWeisman, Collection: Spirit of Seneca Falls, Frederick R. Weisman Art Museum, Minneapolis, MinnesotaBrooching it Diplomatically, a Tribute to Madeline Albright, International Traveling ExhibitionAttitude and Action North American Figurative Jewelry, Birmingham Institute of Art and Design,Birmingham, England

The Jewelry Gallery at DESIGN yard, Dublin, IrelandBeadz! New Work by Contemporary Artists, American Craft Museum, New York, New YorkBright Bold & Beaded, Tory Folliard Gallery, Milwaukee, WisconsinBeads and Baubles, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New YorkPure Vision, Fuller Museum of Art, Brockton, Massachusetts

1999 Pure Vision, Lowe Art Museum, Coral Gables, FloridaPure Vision, Lamont Gallery, Exeter, New HampshirePure Vision, Philbrook Museum of Art, Tulsa, OklahomaPure Vision, Sherry Leedy Contemporary Art, Kansas City, Missouri

1998 Narratives International Jewellery Art Exhibition,Museum of Art and Design, Helsinki, FinlandJoyce Scott & Friends, Mobilia Gallery, Cambridge, MassachusettsPure Vision, Decorative Arts Museum, Little Rock, ArkansasPassionate Obsessions, Phipps Center for the Arts, Hudson, WisconsinPure Vision, Boise Art Museum, Boise, Idaho

1998 Pure Vision, Pensacola Museum of Art, Pensacola, Florida1997 In Full Bloom, Sherry Leedy Contemporary Art, Kansas City, Missouri

Pure Vision, Union Art Gallery, Louisiana State University, Baton Rouge, LouisianaMyths and Magical Fantasies, California Center for the Arts Museum, Escondido, CaliforniaAmerican Art Today/The Garden, The Art Museum, Florida International University, Miami, FloridaBirds, Thomas Barry Fine Arts, Minneapolis, MinnesotaEmbellished, National Surface Design Conference, The Lawrence Art Center, Lawrence, KansasEssentially Beads, Tempe Arts Center, Tempe, Arizona

1996 Schmuckszene 1996, Handwerkmesse, Munchen, Germany1995 McKnight Artists,MCAD Gallery, Minneapolis College of Art and Design, Minneapolis, Minnesota

Pure Vision, Rochester Art Center, Rochester, MinnesotaPure Vision, Sherry Leedy Contemporary Art Gallery, Kansas City, MissouriBrilliant Stories, Arts America Program of the United States Information AgencyTouring 1992-95, Jordan, Saudi Arabia, Algeria, Morocco, Pakistan, Egypt

1994 Holiday Exhibition, Sherry Leedy Contemporary Art, Kansas City, MissouriBoxes, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, Nebraska

1993 International Shoebox Sculpture Exhibition, University Art Gallery, University of HawaiiA View from Australia, Gold Treasury Museum, Melbourne, Australia

1992 Day of the Dead, Ann Nathan Gallery, Chicago, IllinoisLanguage of Jewelry, Helen Williams Drutt Collection, Röhsska Museum of Arts and Design,Göteborg, Sweden

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1992 Museum of Applied Arts (Taideteollisuusmuseo), Helsinki, Finland2nd Oregon Clay Invitational, Renshaw Gallery, Linfield College, McMinnville, Oregon

1991 Collage/Assemblage, Gallery I/O, New Orleans, LouisianaSlippery When Wet, Invitational, Olson-Larsen Galleries, West Des Moines, IowaArtist’s Choice,Objects Gallery, Chicago, IowaObjects,Olson-Larsen Galleries, West Des Moines, Iowa

1990 American Dreams/American Extremes,Museum Voor Hedendaagse Kunst Het Kruithuis,Hertogenbosch, Netherlands

Provinciaal Museum voor Moderne Kunst, Oostende, Belgium1990 Two Person Exhibition, Peter M. David Gallery, Minneapolis, Minnesota

Art for the Holidays, Sherry Leedy Contemporary Art, Kansas City, Missouri1989 Body and Soul, Three Person Exhibition, Steensland Gallery, St. Olaf College, Northfield, Minnesota

New Art Forms, International Exposition, Chicago, Illinois, Sherry Leedy Contemporary Art,Kansas City, Missouri

Vision and 3-D Representation, Coffman Memorial Union Gallery, University of Minnesota,Minneapolis, Minnesota

1988 Arresting Form, Love of Media, Katherine Nash Gallery, University of Minnesota, Minneapolis, MinnesotaTwo Person Exhibition, Peter M. David Gallery, Minneapolis, Minnesota

PERMANENT COLLECTIONSAustralia The National Gallery of Victoria, Melbourne, AustraliaCanada Montreal Museum of Decorative Arts, Montreal, CanadaFinland Arabia Museum, Helsinki, FinlandGermany Die Neue Sammelung, Pinakothek der Moderne, Munich, GermanyNetherlands Museum of Contemporary Art, Voor Hedendaagsa Kunst Het Kruithuis,

Hertogenbosch, NetherlandsUnited States The Renwick Gallery, The Smithsonian American Art Museum, Washington, D.C.

Daphne Farago Collection, Museum of Fine Arts, Boston, MassachusettsMuseum of Fine Arts, Houston, TexasHelen Williams Drutt Collection, Museum of Fine Arts, Houston, TexasFrederick R. Weisman Museum, University of Minnesota, Minneapolis, MinnesotaThe Minneapolis Institute of Art, Minneapolis, MinnesotaNorth Dakota Museum of Art, Grand Forks, North DakotaLaumeier Sculpture Park and Museum, St. Louis, MissouriMcKnight Foundation, Minneapolis, MinnesotaDaum Museum of Contemporary Art, Sedalia, MissouriFuller Craft Museum, Brockton, MassachusettsHallmark, Kansas City, MissouriCooper-Hewitt Museum, New York, New YorkDecorative Arts Museum, Little Rock, ArkansasGreenville County Museum, Greenville, NCMinnesota Museum of Art, St. Paul, MinnesotaNational Endowment, National Council on the Arts, Washington, D.C.North Hennepin Junior College, Minneapolis, MinnesotaNorwest Bank, Rochester, MinnesotaRochester Community and Technical College, Rochester, MinnesotaState Foundation on Culture and the Arts, Art in Public Places, HawaiiUniversity of Wisconsin, Lacrosse, WisconsinUniversity of Wisconsin, River Falls, Wisconsin

GALLERY AFFILIATIONSSherry Leedy Contemporary Art, Kansas City, MissouriThomas Barry Fine Arts, Minneapolis, MinnesotaTory Folliard Gallery, Milwaukee, Wisconsin

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BIRTHPLACE

Bethesda, Maryland

EDUCATION

1991 M.F.A. University of California, Davis1988 B.F.A. University of Wisconsin-Madison

TEACHING1995-Present Professor, Augusta State University: Photography, 3-Dimensional Design,

Installation, World Humanities,1991-95 Assistant Professor, University of Minnesota, Morris: Studio Foundations,

Sculpture, Photography, Inquiry

HONORS AND GRANTS2008 Faculty Research and Development Grant, Augusta State University, Augusta, Georgia2007 Faculty Research and Development Grant, Augusta State University, Augusta, Georgia

Faculty Research and Development Grant, Augusta State University, Augusta, Georgia2005-06 Governor’s Teaching Fellow, University of Georgia, Athens, Georgia1994 Professional Development Grant, University of Minnesota, Morris, Morris, Minnesota1993 Professional Development Grant, University of Minnesota, Morris, Morris, Minnesota1992 Professional Development Grant, University of Minnesota, Morris, Morris, Minnesota1990 Materials and Research Grant, University of California, Davis, Davis, California

SOLO EXHIBITIONS2007 Dusk, The Arts Center, St Petersburg, Florida

Recent Work,Mary Pauline Gallery, Augusta, Georgia2006 Waiting Room, Sherry Leedy Contemporary Art, Kansas City, Missouri2002 Beyond the Surface, Gertrude Herbert Institute of Art, Augusta, Georgia2000 Skin and Bones, Sherry Leedy Contemporary Art, Kansas City, Missouri1999 Recurring Gaps, University of South Carolina, Aiken, Aiken, South Carolina1997 Current Works, University Center, Rochester, Minnesota1996 27, Installation, Augusta State University, Augusta, Georgia1995 Stall, Installation, Rochester Art Center, Rochester, Minnesota1994 Tethered, Installation, Mankato State University, Mankato, Minnesota

Still Room, Installation, Leedy-Voulkos Art Center, Kansas City, MissouriStill Room, Installation, HFA Gallery, University of Minnesota, Morris, Minnesota

1991 Silent Ground, Installation, University of California, Davis, California1989 Interior View, Installation, Oblong Salon, Davis, California

SELECTED GROUP EXHIBITIONS2009 Recent Works, New Space Gallery, Augusta, Georgia2008 Art Chicago, Sherry Leedy Contemporary Art, Kansas City, Missouri

Lightsome Recall, Sherry Leedy Contemporary Art, Kansas City, Missouri

JENNIFER ONOFRIO FORNES

Mortal Coil #2 detail

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2008 Summer Invitational, Thomas Barry Fine Arts Gallery, Minneapolis, MinnesotaLois Hodgell Invitational, University of Minnesota, Morris, Morris, MinnesotaOf Art And Artists, Gertrude Herbert Institute of Art, Augusta, Georgia

2007 Beyond Likeness, North Dakota Museum of Art, Grand Forks, North Dakota2006 Transition, New Space Gallery, Augusta, Georgia

Something About Soul, JB White’s, Augusta, Georgia2005 SOFA, Sculpture Objects and Functional Art, Chicago, Sherry Leedy Contemporary Art,

Kansas City, MissouriOf Art And Artists, Gertrude Herbert Institute of Art, Augusta, GeorgiaMorris Museum of Art, Invitational, Augusta, Georgia

2004 Move, Invitational, Rochester Art Center, Rochester, MinnesotaThirteen Moons Invitational, Thirteen Moons Gallery, Santa Fe, New Mexico

2003 Autumn Art, North Dakota Museum of Art, Grand Forks, North DakotaFiber Exhibition, Sherry Leedy Contemporary Art, Kansas City, MissouriOf Art And Artists, Gertrude Herbert Institute of Art, Augusta, GeorgiaSOFA, New York City, Sherry Leedy Contemporary Art, Kansas City, MissouriThirteen Moons Gallery, Group Exhibition, Santa Fe, New Mexico

2002 Survey Fiber 2002, Snyderman Gallery, Philadelphia, Pennsylvania2001 SOFA, Sculpture Objects and Functional Art,Chicago, Snyderman Gallery, Philadelphia, Pennsylvania

SOFA, Sculpture Objects and Functional Art,Chicago, Sherry Leedy Contemporary Art,Kansas City, Missouri

Figurative Metaphors, Rochester Art Center, Rochester, MinnesotaPoints of View,Mississippi Gulf Coast Community College, Gautier, Mississippi

2000 House Guests, Linda Durham Contemporary Art, Galisteo, New MexicoThe Summer Show, Sherry Leedy Contemporary Art, Kansas City, MissouriThe Big Bang, Rochester Art Center, Rochester, Minnesota

1999 Arts in the Heart, Gertrude Herbert Institute of Art, Augusta, Georgia1998 Sacred Spaces, Rochester Art Center, Rochester, Minnesota

Arts in the Heart, Gertrude Herbert Institute of Art, Augusta, Georgia1997 Leedy-Voulkos Invitational, Leedy-Voulkos Art Center, Kansas City, Missouri

Ware’s Folly, Gertrude Herbert Institute of Art, Augusta, Georgia1996 Stop to Consider, Leedy-Voulkos Art Center, Kansas City, Missouri1995 A Silence Broken, Leedy-Voulkos Art Center, Kansas City, Missouri1993 The National Exposure Exhibit, ARC Gallery, Chicago, Illinois1992 51st Annual Sioux City Juried Exhibition, Sioux City Art Center, Sioux City, Iowa

13th Annual WARM Exhibition,Minneapolis College of Art and Design, Minneapolis, Minnesota1991 Minnesota Metaphors, Rochester Art Center, Rochester, Minnesota

The Gift, University of California, Davis, Davis, California1990 Photography, Davis Art Center, Davis, California

House of Gesso,Oblong Salon, Davis, California1988 Conflict of Interests, University of Wisconsin, Madison, Wisconsin

St. Olaf CollegeFlaten Art Museum, Dittmann Center

1520 St. Olaf Avenue, Northfield, MN 55057

February 2010

arabesque