JD: Hello Trisha.  Can you please tell me about your background?

TB: Hi Jose. Well, I was born here in Miami, FL, and I went to New World School of the Arts for high school.  When I left Miami 11 years ago, there was not very much going on with the arts (that I saw).  I went to Syracuse University for Undergrad, where I got my BFA in Sculpture, with a concentration in Fiber.  After Undergrad, I interned at a craft school, called Peter's Valley in New Jersey, where I was an assistant/tech in the Weaving Department.

After that, I worked at Polich Art Works, an art foundry outside of New York City.  That was a really great learning experience, for technical skills, and for working on high profile sculpture for artists like Frank Stella & Louise Bourgeois.

After being out of school for a few years, I knew that I was ready to go back and really focus on myself again. I went to Cranbrook Academy of Art in Bloomfield Hills, MI, for my Masters of Fine Art.  That was a really amazing, nurturing, & crazy experience!  And when it was finally over, I decided to move back to Miami.... Mostly because of the growth in the art scene over the past several years.... (and it's a big plus that all of my family is here!).

JD: You mention Louise Bourgeois and she's one of my favorites.  Thinking about her beginnings in her family's tapestry repair business and her career as an artist, I can see a parallel with your craft background and newest work, which is quite theatrical, fragile and imposing. Thoughts?

TB: I also love Louise Bourgeois!  To work on the Maman Spider that went to Bilbao was really amazing!  I love foundry work because of the team aspect of it.  Several people have to come together to make it all happen.  It creates a really beautiful sense of community. I think my interest in textiles, is pervasive throughout all of my work.
I was extremely immersed in weaving for a long time, and still love it, although it is not a part of my work at the moment.   But, I think the level of concentration on tedium and repetitive actions is still a large part of the techniques and processes I work with.  I am very concerned with the craft of my objects.  Everything I make is extremely deliberate, and made to the absolute best of my ability.  I definitely spend hours laboring over very small details, like a tapestry weaver, or embroiderer.

JD: What will your audience experience at your upcoming solo "Hurdling Through Space", and what do you hope to gain from this new body of work?

TB:  Well, I'm really excited about this opportunity.  It is my first solo show, and it has already modified the way I approach making work.  Instead of thinking about one piece at a time, I have had the opportunity to create a body of work where each piece is part of a cohesive exhibition. 

When the audience walks in to "Hurdling through space at uncontrollable speeds..." they will experience a series of cinematic inspired paintings and sculptures.  Panels with views of space and meteors line the walls, with a large stage drape at the back of the space.  The meteoric sculptures are made of basswood and sit atop custom upholstered pedestals which reference the seats of a theater.  By mixing two dimensional and three dimensional objects, I am bringing the objects in the paintings to life in real space.  The sculptures become crashed space trash, or humans in their seats eating pop corn.

Working with the idea of the narrative, this exhibition details the moments of anticipation and potential before a narrative begins.  I have chosen the genre of science fiction as a model because of the innumerable possibilities in this specific category of film. I am using the hurdling meteor as a metaphor for possibility.  By not embarking on my own narrative, I intend for the audience to create their own.

JD: You mention Science Fiction and very theatrical effects..Any direct influences or points of departure?

TB: There are several places which are directly referenced to the theater. The panel pieces are all dimensionally matched to movie theater screens. The curtains are styled after old fashioned theater curtains and the sculptural pieces are named and sized according to the various hierarchical seating areas found in most theaters.  The largest, "Ochestra", the mid-sized sculpture, "Balcony", and the smallest, "Mezzanine". The science fiction references are found in the stylized meteors and space scenes.  The main panel piece contains text from three epic science fiction films, in a font and layout that are all recognizable. The last line in this piece is the title of the show, "Hurdling through space at uncontrollable speeds..." 

JD: Sounds amazing! Thank you Trisha. I’m certain you will receive plenty of great feedback!