Mountainfield Studies included in Context 2017 at Filter in Chicago

February 5, 2017

Exhibition Dates: March 3 – April 22, 2017
Opening Reception: March 3 | 6pm – 9pm
Location: Filter Space 1821 W. Hubbard St., Ste. 207
Gallery Hours: Monday – Saturday 11am – 5pm


Filter 2017 Announcement

Very pleased to know my work will be on view in my former home of Chicago, Illinois this spring. Selected by Natasha Egan, Executive Director of the Museum of Contemporary Photography at Columbia College Chicago (MoCP), a print from my series Mountainfield Studies will be on view, and serves as the cover image for the exhibition announcement.

Find out more at the link below:

Mountainfield Studies included in Chiang Mai Photo Festival in Thailand

February 5, 2017


Patricia Lois Nuss has curated one of the main exhibitions at The Chiang Mai Photo Festival, Collective Experiences. This group exhibition includes works by 23 artists based in the U.S. My work is represented by a print from the series, Mountainfield Studies.

Find out more at the link below:

A Certain Slant of Light at Riverside Arts Center

February 5, 2017

January 15 – February 25, 2017

Guest Curated by Bill Conger and Shona Macdonald



A Certain Slant of Light (Installation View), including works by Natalie Jacobson (Left), Bill Conger (foreground), and Dawn Roe (Right). Image Credit: Shona Macdonald

I’m so pleased to have been asked by friends (and exhibition curators) Shona Macdonald and Bill Conger to share an older work from my series, No One Was With Her When She Died, in this current exhibition at The Riverside Arts Center. An excerpt describing the exhibition is below:

There’s a certain slant of light On winter afternoons,
That oppresses like the weight Of cathedral tunes”
– Emily Dickinson

The work of this group of artists hopes to encapsulate the lyricism, fragility, and foreboding inherent in Dickinson’s poem. Memory too, captured in Dickinson’s vivid imagery, is present in much of this work: particularly the way memories unearth and dislodge, becoming different with age. Also, stillness and boredom where the imagination runs free, on days such as dreary, rain-soaked Sunday afternoons, as evoked in Dickinson’s poem.

The poem’s undercurrent of affliction illuminates something within the narrator herself. A supernatural heft within the four slight passages swells as the arbitrary and enigmatic slant of light transforms into a malevolent force of nature. The artists represented here amplify common visages and familiar objects while expounding on the implications. These artists similarly excavate content from the slightest stimuli either pictorially or through gesture. Their works yield psychically charged moments, which reference Dickinson’s unequalled ability to exact underlying drama from arrested observation. — Shona Macdonald, Guest Curator

The Sunshine Bores | The Daylights included in Strange Oscillations and Vibrations of Sympathy at University Galleries in Normal, IL

February 5, 2017

Installation View, Strange Oscillations and Vibrations of Sympathy, Kay Rosen (Sheep in Wolf’s Clothing) and Dawn Roe (The Sunshine Bores | The Daylights). Image Credit: Juan Fernandez

I’m late to add this to the “News” section of my website, but am pleased to have been included in this exhibition, curated by Kendra Paitz, last fall at The University Galleries at Illinois State University. A catalog is forthcoming, and I look forward to sharing that news in the coming months. About the exhibition, Paitz writes:

Strange Oscillations and Vibrations of Sympathy features work by contemporary female artists that acknowledge or reference women writers. The exhibition’s title is derived from a sentence Sylvia Plath underlined in her copy of Virginia Woolf’s The Waves, and that Stephanie Brooks later appropriated for a text-based artwork. These multiple layers of mediation are integral to all of the included works. The exhibition features 34 works by 21 artists inspired by writers Octavia Butler, A. S. Byatt, María Elena Cruz Varela, Emily Dickinson, Zora Neale Hurston, Clarice Lispector, Gabriela Mistral, Toni Morrison, Alejandra Pizarnik, Mary Shelley, Rebecca Solnit, Gertrude Stein, Sylvia Plath, Mary Wollstonecraft, and Virginia Woolf.

As a tribute to Woolf’s foundational essay “A Room of One’s Own,” all the artists selected for Strange Oscillations and Vibrations of Sympathy are female in order to focus the interpretation of literature through the lenses of subsequent generations of artists. The works in the exhibition demonstrate the political and creative progress of feminism, examine writers’ intellectual pursuits, navigate their status as literary icons, and interpret their legacies. They also engender an intimate and sustained contemplation of texts—a cerebral, analytical pursuit whose future is threatened by a culture that favors sound bites, hashtags, and 140-character tweets.

A catalogue is forthcoming in 2017 featuring texts by exhibition curator Kendra Paitz, art historian Melissa Johnson, poet/artist Cecilia Vicuña, and artists Xaviera Simmons, Kay Rosen, Deborah Willis, and Marcelline Delbecq.”

Find out more, and view additional installation images at the link below:


Mountainfield Studies included in the Florida Prize for Contemporary Art

May 2, 2016

On view at The Orlando Museum of Art
May 13 – August 14, 2016

My contribution to this group exhibition includes a new double-projection video and related series of photographs from my ongoing project, Mountainfield Studies.  This work was comprised from material obtained during research residencies in Ólafsfjörður, Iceland at Listhús í Fjallabyggðis in June of 2014, and The Banff Centre in Alberta, Canada in February of 2015. The Florida Prize in Contemporary Art is an initiative of the Orlando Museum of Art that brings a new level of recognition to the State’s most progressive artists. Find out more HERE.

Mountainfield Study (Double-Projection Simulation, Video Still), 2016


The Sunshine Bores | The Daylights featured in The Finch

May 2, 2016

My new project, The Sunshine Bores | The Daylights was recently featured in the on-line publication, The Finch. The feature includes working notes and correspondence detailing my thought process as the work was being created and completed.


Screen Shot 2016-05-02 at 3.17.13 PM

2016 Faculty Biennial at Cornell Fine Arts Museum

May 2, 2016

On view April 16th – May 15th, 2016

Included in this exhibition is a new work, The Sunshine Bores | The Daylights, which takes the form of a single-channel video with audio and composite photograph that builds upon earlier projects (The Tree Alone and The Weight of Centuries) that respond to Virginia Woolf’s novel, The Waves.  Artist and musician Rachel Blumberg contributed audio tracks to the video work. Having formed a much admired friendship with Blumberg during my decade in Portland, Oregon in the 1990’s, this collaborative aspect is an important link to the complicated relationship between loss and nostalgia in The Waves.

Also included in this exhibition is new work by Josh Almond, Rose Casterline, Dana Hargrove and Rachel Simmons. Find out  more HERE.

Interior Landscape (Book) included in Padgett Powell essay in Oxford American

November 22, 2015

An older image from my 2007-09 series, Interior Landscape, was recently used to illustrate the story, The Cork, by Padgett Powell in the September issue of Oxford American. You can link to the story HERE.



Women in the Landscape

November 22, 2015

Newspace Center for Photography, Portland, Oregon
September 4 to September 27, 2015

In September, I traveled to Portland to take part in a panel discussion related to this exhibition, including all four artists and moderated by Portland artist, writer and educator, Paul Sutinen. This four-person exhibition was organized by Lauren Henkin. Each of the four artists included took part in Henkin’s long-form interview project, Women in the Landscape, published in the journal, Tilted Arc. Exhibiting artists included Jessica AuerJennifer ColtenLauren Henkin and Dawn Roe.  A video of the panel discussion can be found HERE.

The Weight of Centuries at Presbyterian College and Spartanburg County Library

November 22, 2015

July 6 to September 7, 2015
and September 17 to November 24, 2015

These two small, solo exhibitions included a re-configured 3-channel video installation drawn from video sequences originating from a 2010 project, The Tree Alone, originally exhibited as part of the New Work series at The Orlando Museum of Art.