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Gina Adams, Assimilation Machines

Gina Adams
1965-
Anishinaabe (Ojibway)/Lakota
Date
2016
Medium Specific
Chine collet
Edition / State
27/30
Classification
Print
Dimensions
7 x 6 in. (17.8 x 15.2 cm)
Sheet: 8 x 10 in. (20.3 x 25.4 cm)
Accession Number
2016.20.20.16
Credit
Gift of the Artist
Memo / Artist Statement
I have been creating chine collet prints this past year using the negative fabric cutouts from my body of work Broken Treaty Quilts. It has been an absolute joy to re-use this fabric and explore these pieces while recreating the separate parts into a new series of artist proof prints. In process I considered creating whimsical machines that decipher and dissolve assimilation practices. I imagine their moving along the earth, healing the pain for all indigenous peoples with forward momentum to heal the history here in the United States. I imagined the fabric transforming while working on chine collet printing...then drawing into each one so that these little machines have power to go out into the world and "clean it up" a little bit. Miigwetch/Thank you as making them has been a joyful experience.

I am fascinated by stories passed down, both from my own familiar heritage and those told by others. I believe that the passing down of memories what keeps our genetic heritage alive. I am interested in and seek out others who have a similar story to tell and I immerse myself in their shadows. I do so in order to tell my story more clearly, and doing so also helps to clarify what I want the work to say visually.

There is a connection to what the ancient ones taught my ancestors, as this information was passed down generation to generation. I consider my work and its process to be a spiritual endeavor, and the process of making to be a ritual component. I decided to learn how to make objects in order to have a better understanding of who my ancestors were and how perhaps I am similar to them. The process of making gives me an identity and an ancestral connection. In this I feel that I have been creating work that recontextualizes the sense of the sacred and the ritual object.

In storytelling I am moved by a sense of discovery and connection, and much of it is also deeply connected and rooted in place and land. My life's journey is about where the land, peoples, and stories come together. It is my wish that the viewer will bring their own experience when viewing my work. Thank you for taking the time for your own discovery as it brings meaning to the day. Miigwetch/Thank you.
Biography
Gina Adams spent her early youth in the San Francisco Bay, and then her adolescent and early adult years in Maine. Gina's formal education includes a BFA from the Maine College of Art and MFA from the University of Kansas, where she focused on Visual Art, Curatorial Practice and Critical Theory.

Gina Adam's cross-media, hybrid studio work includes the reuse of antique quilts and broken treaties between the United States and Native American tribes, sculpture, ceramics, painting, printmaking and drawing. Her work is exhibited extensively throughout the US and resides in many public and private collections. Most recent exhibitions include: Solo, Survival/Zhaabwiiwin, Kemper at the Crossroads, Kansas City, MO. Solo, Its Honor Is Here Pledged, Intro by Lucy Lippard, Nerman Museum, Overland Park, Kansas. Group exhibitions, Loving After Lifetimes of All This, curated by Danny Orendorff, The Center of Craft, Creativity & Design, Ashville, NC. Beautiful Games: American Indian Sport and Art, Heard Museum, Phoenix, AZ. Stands With A Fist from the MOCNA in Santa Fe, New Mexico; Survival/Zhaabwiiwin exhibited at the Bemis Center for Contemporary Arts in Omaha, Nebraska and the Institute of Contemporary Art in Portland, Maine.

Among her honors are a recent award of being Smithsonian Artist Research Scholar for 2015-2016, and a MFA from the University of Kansas where she earned the honorable Kelvin & Helen Hoover Award and the Daniel MacMorris Award in Painting. Gina's studio practice is currently located in Boulder, Colorado where she teaches printmaking and foundations at the University of Colorado, Boulder. Along with working in her studio, Gina travels as a Visiting Artist to Universities and Artist's Residencies, mentors and teaches college and youth Art Programs.
Date of Bio
Inscription
edition, title, signature and date in pencil (front)