Vignette Art Fair Wrap-Up

I participated in the third annual Vignette Art Fair, an “alternative” exhibition featuring female-identifying and non-binary artists from across the state. It event was definitely “alternative” in the sense that it was in an alternative space! The Women’s Museum, located in a beautiful Arts & Crafts/Art Deco-era building in Fair Park, was in operation for just over a decade and closed in 2011. Prior to the museum’s opening in 2000, the structure was almost a total loss. Its future also remains uncertain. Rather than having a fun pop-up vibe, the space had the sense of a defunct mall, only much sadder in the #metoo-era because of the lofty ideas it once stood for.

My disappointment continued when I saw my 2D works were crowded in with that of several other artists in what I’m guessing used to be the museum’s gift shop. Meanwhile in the same room, other walls were almost completely blank. Rather than looking salon-style or intentionally unbalanced, the effect ultimately felt disorganized and chaotic.

I was dealt another blow when I found out (after searching the entire building three times), that my video piece, Apple Harvest, had been cut due to “space issues.” I’m really not sure how that happens in a massive three-level exhibition hall, but whatever. I would have been more understanding had a representative contacted me in advance to explain the situation and apologize, no matter how brief the missive.

But those are just my personal concerns relating to the physical setup and should be taken with a grain of salt. The entire exhibition of 78 artists with hundreds of pieces was installed in only two days, so it’s highly likely that many other details were overlooked. The key takeaway here is the simple fact that this behemoth of mind-boggling aesthetic diversity can forge on, in spite of any hiccups along the way. As female-identifying and non-binary humans, we should cheer each other on when opportunity knocks and celebrate each other’s accomplishments.

Indeed, the camaraderie and pride among the artists was palpable. I met new colleagues and got to know my existing art friends even better. I’m sincerely happy that so many other women seized the opportunity to lead and participate in this undertaking, because it means there’s hope. Through my experience viewing the vast array of contemporary art in Texas, I left Dallas with a great sense of confidence, almost mission, in continuing my practice.

New Work at Dontworrybaby Playhaus @ Unit C

Apple Harvest

New work by Rachelle Diaz
ASMR audio by Cromo Fragrance House
Presented by Dontworrybaby

Tuesday, March 12, 2019
Sponsored by Tito’s Handmade Vodka and Topo Chico

Unit C Studio & Gallery
1710 E 2nd Street
Austin, Texas 78702

Apple Harvest is a one night only exhibition of my recent photography and video work, plus a site-specific interactive installation with accompanying ASMR soundtrack. By RSVP only at I’m looking forward to this one!

Chiaroscuro: probing mystery, seeking clarity and EAST 2018

Chiaroscuro: probing mystery, seeking clarity

ICOSA Gallery
901 Springdale Rd. Building 2, #102
Austin, Texas 78702

Friday, October 19, 7-10pm

October 19 – November 18, 2018
Fridays & Saturdays 12-6pm

November 10 – 11 and 17 – 18
Saturday & Sunday 10am-6pm

Chiaroscuro: probing mystery, seeking clarity is the first opportunity for this year’s ICOSA collective to show together. It’s a show of miscellanies: bits and pieces of new or recent work, a quick glance at what is brewing, a preview of what’s to come. Selected by Annette DiMeo Carlozzi, an Austin-based curator, the exhibition introduces new and ongoing members of the reformulated collective and some of the themes ICOSA’s 2018-19 calendar of collaborations will explore in their new space.


Leon Alesi, Amy Bench, Darcie Book, Jonas Criscoe, Kate Csillagi, Erin Cunningham, Bug Davidson, Rachelle Diaz, Terra Goolsby, Sarah Hirneisen, Mark Johnson, Dameon Lester, Amanda Linn McInerney, Teruko Nimura, Matt Rebholz, Tammie Rubin, Lana Waldrep-Appl, Alyssa Taylor Wendt, Jenn Wilson and Carlos Carillo/Yevgenia Davidoff.

Silk ‘n’ Sweater Mix

A softly knit mix for Fall.


  1. Shadows From Nowhere – Blue Gas [1983]
  2. Childhood Portrait – M. Grechuta [1982]
  3. Waitin’ – Zenit [1986]
  4. In A Landscape – John Cage [1947]
  5. Crow – Yasuaki Shimizu [1981]
  6. Romance – Hiroshi Suzuki [1975]
  7. So Low – Carol [1981]
  8. Laura – Brian Bennett [1973]
  9. What You Are – Pete Brandt’s Method [1980]
  10. For Where Have You Been – Honeybus [1972]
  11. Bubble Gun – Hefner [2000]
  12. Cool & Get Up – Quartz [1979]
  13. Grey Skies – Turquoise Days [1984]
  14. Find It In Your Eyes – The System [1983]
  15. Audio Trip – Dreamatic [1991]
  16. Illusions – Optik [1991]
  17. Autumn – Richenel [1982]

Are You Doing Your Part / In Your Life?

Excited to be a part of ICOSA’s first show at Canopy! My generative pieces Tide and Scream for 2018 were selected for install in the front window. I’ll be gallery sitting from Fridays 3-6pm on August 3rd and 12-3pm on August 24th – come out, say hey and pick something up from our gift shop. I also re-designed the ICOSA website back in June.

The Scream

Friday, July 27, 7-10pm

July 27 – August 25, 2018

Please join ICOSA Collective for the inaugural exhibition at our new space in the Canopy Complex showcasing the work of 11 new members: Leon Alesi, Amy Bench, Darcie Book, Rachelle Diaz, Sarah Hirneisen, Mark Johnson, Dameon Lester, Tammie Rubin, Lana Waldrep-Appl, and collaborative duo Carlos Carillo/Yevgenia Davidoff. Curated by Sean Redmond, editor of fields magazine, Are You Doing Your Part / In Your Life? explores personal and communal responsibility in the context of artistic pursuit. Together the work will question what it means to enshrine something and strip it of its practical value, devoid of functionality yet imbued with creative power.

Sean Redmond is the editor in chief of fields, an arts and culture journal that celebrates the up-and-coming and the unsung. fields explores the stories behind the artists’ work while promoting progressive change necessary to foster a more just and compassionate society. Sean has curated various art shows in Austin, and his writing has appeared in Pitchfork, Newcity, The Hypocrite Reader, Fjords, Rubberneck, and elsewhere.

Leon Alesi
Amy Bench
Darcie Book
Carlos Carrillo/Yevgenia Davidoff
Rachelle Diaz
Sarah Hirneisen
Mark Johnson
Dameon Lester
Tammie Rubin
Lana Waldrep-Appl

Pump Project Closing Party

“What we, or at any rate what I, refer to confidently as memory – meaning a moment, a fact that has been rescued from oblivion – is really a form of storytelling that goes on continually in the mind and often changes with the telling. Too many conflicting emotional interests are involved for life ever to be wholly acceptable, and possibly it is the work of the storyteller to rearrange things so that they conform to this end. In any case, in talking about the past we lie with every breath we draw.”
—William Maxwell, So Long, See You Tomorrow 

Unfortunately I forgot to post about Pump Project‘s farewell fundraiser before it happened, so this will just be more of a wrap-up! The local art community came together for a homecoming of sorts on June 23rd to say goodbye to the old orange warehouse that has been Pump Project’s home since 2005. Hugs were shared, kegs were floated, and time suspended as past and present converged in the ether. These days in Austin, with the built environment constantly in flux, landmarks vanishing around us, we experience memory and reality in the same moment.


My contribution was the closing party graphic, which is only fitting considering I designed the logo and print invitations for the Pump Project launch party in 2007, a rebrand from the former name of Shady Tree Studios.

My studio, May 2007

I also set up a slideshow that ran during the event, thanks to contributions from artist members and friends over the years. The photos can be viewed here.

The good news is that later this year, Pump Project will be relocating to a long-defunct industrial/shopping center behind the HEB at Riverside and Pleasant Valley (another rapidly gentrifying area), with a custom buildout, gallery, meeting/community area, more studio capacity, an outdoor workspace, parking, and perhaps most importantly, air conditioning. Other arts organizations and amenities in the immediate area will make it a creative destination.

I look forward to this next chapter for Pump Project’s hub of leaders and artists. If the hundred or so people who came to closing party (as well as the countless folks who weren’t able to attend or have moved on from Austin) proved anything, it’s that it truly takes determined, sustained, collective effort to make change.

Highs in the 80s Mix

Usually I like my mixes to create a specific ambiance or take the listener on a guided sonic journey, but this is just a random mix of 80s boogie, post punk, pop, minimal, Italo, and more. Some recent favorites, longtime guilty pleasures, and forgotten tracks I rediscovered while putting together a background soundtrack for Pump Project’s closing party a couple of weeks ago. Here’s to shade trees, cold drinks, and the crushing anxiety of existence in a degenerate world.

Previous summer mixes: 2017, 201620142013, 2011, 2011.


  1. Skyfire – Ehri Ohono [1981]
  2. Roof Garden – Al Jarreau [1981]
  3. You Got Me Hot – Aquai [1985]
  4. Slow Motion Kisses – Furniture [1989]
  5. Into Your Eyes – Chris Taylor [1984]
  6. Wait Forever – In Tension [?]
  7. Show Me – Starpoint [1982]
  8. She’s Got the Beat – The Judy’s [1981]
  9. One on One – Hall & Oates [1982]
  10. Beauty & The Beat – Ivy [1983]
  11. Transformation – Nona Hendryx [1983]
  12. Walkin Down The Subway – Exxess [1984]
  13. Elegance of an Only Dream – Felt [1985]
  14. Too Late for Goodbyes – Julian Lennon [1984]
  15. Down on the Street – Shakatak [1984]
  16. Smile on My Face – Tres [1985]
  17. Jeena Bhi Kya Hai Jeena – Bappi Lahiri [1985]
  18. NEO-PLANT – Koharu Kisaragi & Ryuichi Sakamoto [1986]
  19. Stolen Love – Advertising [1978]
  20. Underwater Girl – The Tweeds [1978]
  21. Stepping In the Light – Another View [1980]
  22. Ma Boom Fey (Zanzibar Mix) – Cultural Vibe [1986]
  23. S&M (Sexy Music – Rated X) – De De [1983]
  24. Infectious Smile – The Delmontes [1980]
  25. Sending All My Love Out – Emerson [1988]
  26. Din Daa Daa – George Kranz [1983]

ICOSA Fundraiser

I’ve hit the ground running as one of ICOSA Collective‘s newest members with a Kickstarter fundraiser that ends next week. The venerable orange warehouse that formerly housed ICOSA’s gallery – and Pump Project Art Complex as of the end of this month – has officially been sold after only 6 months on the market. The good news is that ICOSA has secured new headquarters at Canopy in Art.Science Gallery’s previous space. In fact, I just spent a sweltering Sunday helping move materials and equipment.

The Kickstarter is to help defray costs of demo and buildout, which will include a gift shop area, storage, and new bar. There are lots of great art perks available. In addition, Fields magazine is generously donating 50% of sales of their new Spring/Summer issue at their reading on Thursday, June 14th at Big Medium to close out ICOSA’s fundraising campaign. Join us for lit, art, and a good time!



I’m excited to announce that I’m one of ICOSA gallery + artist collective’s newest members. Be sure to check out These, our precious scars: Erin Cunningham & Alyssa Taylor Wendt, the final show at ICOSA’s Pump Project location, which opens Friday, April 27, 7-10pm.

Also opening on Friday at Pump is PRIMA MATERIA, a group show curated by Erin Cunningham, Alyssa Taylor Wendt, and the ICOSA Collective. Once of my Rooms pieces was selected for the exhibition.

Curated around the idea of alchemy, the ICOSA Collective brings us PRIMA MATERIA, a group show of Austin artists whose work explores a sense of mysticism, teleportation, clairvoyance and the magic of metallurgy. Shown in conversation with Erin Cunningham and Alyssa Taylor Wendt’s show these, our precious scars, the group looks at change as a positive force and one that could yield bigger discoveries and treasures, as with the alchemical practice. As our community is aware, Pump Projects will soon be relocating due to the sale of the current beloved space. This exhibition celebrates ICOSA’s last show in the physical space and affirms the strength of the art community to persevere and gild the seeds of future endeavors.

Participating artists include: Steve Brudniak, Lisette Chavez, Rachelle Diaz, Chris DiRaddo, Aaron Flynn , Mai Gutierrez, Sarah Hirneisen, Andrea Faye Hyland and Emily Cayton, Jieun Beth Kim, TJ Lemanski, Kyle Nutter, Amy Scofield, Prakash Spex, Wes Thompson, Bruce Lee Webb, and Sally Weber.

Exhibition: April 27-May 26
Gallery Hours: Saturdays 12-5pm, or by appointment

dadageek Student Showcase

I’ve been taking a Processing glitch art class with dadageek for the past month. Tonight, students from all classes will be showing their work at the dadageek Student Showcase. Should be a fun evening of tech, sound, interactive art and more.

Saturday, March 3
Atmosphere Coworking
Free with RSVP

For my coursework, I decided to juxtapose imagery from the 50s (specifically relating to women and home) with the techiness and distortion of glitch, as it feels like this era is being dredged up and trying to be imposed on us again. Although the adage “History doesn’t repeat itself repeat itself, but it often rhymes,” is attributed to Mark Twain, there’s no definitive evidence he actually said it. However he did write (and I like this much better, especially as it relates to glitch aesthetic), “History never repeats itself, but the kaleidoscopic combinations of the pictured present often seem to be constructed out of the broken fragments of antique legends.”


While HTML and CSS are certainly not unfamiliar territory (and being Java-based, Processing isn’t that much different), I’ve never really coded from scratch. It’s been an interesting experience to dust off the old high school math skills and work exclusively with code. I’ve always been quick to grasp mathematical concepts and processes, but struggle when it comes to putting them into action. I prefer to observe how everything works in different scenarios before I feel comfortable in working the operations myself. So while I’ve quickly discovered the are limitations to creating glitch art in Processing, ever the perfectionist, I also have to remind myself the files are called sketches for a reason. You can certainly make cool finished pieces with a lot of practice, but as with any other art form the main part of the journey is learning from your drawings.

I’ll post stills and animations on the main part of my site soon.