TWELVE VOICES FROM ONE: Lisa Kerpoe

Wednesday, April 13, 2011

Lisa Kerpoe

The Best Season

This series is inspired by a poem by Wu-Men, a Zen master.

Ten thousand flowers in spring,
The moon in autumn,
A cool breeze in summer,
Snow in winter.

When your mind isn’t clouded by unnecessary things,
This is the best season of your life.

My intention is not only to represent the literal meaning of the words, but also the feelings of peace and contentment that result from living in the present moment. This series is also informed by the importance of meditation and reflection in my life. The process by which I create also emphasizes quiet reflection and connection to the wisdom within. Prior to creating a piece, I meditate on what I am trying to achieve. At the beginning of each work session, I focus on my intention. Then as I work, I remain open to intuition and the flow of creativity during the process. Working in this manner gives me a strong sense of joy and inner peace. It is my intent to inspire that feeling in those who view my work.

Biography

Lisa Kerpoe is an award-winning artist and facilitator. Her work has been exhibited both nationally and internationally. Her latest series focuses on the feelings of peace and contentment that result from living in the present moment and the importance of meditation and reflection in her life. Her intention is to inspire those feelings in those who view her work. Kerpoe produced two instructional DVDs in 2010 - Vibrant Color (with Jane Dunnewold) and Irresistible Texture. She has also written a book on water-based resists to be released by C&T Publishing. (Spring 2012). Kerpoe is an adjunct faculty member at the Southwest School of Art in San Antonio, Texas, and teaches textile and surface design workshops across the United States. Kerpoe was juried into the ArtCloth Network in 2008 and is a member of the Fiber Artists of San Antonio.

lisa@lisakerpoe.com
http://www.lisakerpoe.com/

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THE MASTERY PROGRAM

This exhibition represents nearly three years of intense and dedicated study on the part of the participants. The Mastery Program 2009, in which they were enrolled, required five week long sessions in the San Antonio studio, in addition to demanding assignments which were addressed during the interim periods.

Artists interested in surface design processes are at a disadvantage in this country. Most opportunities for study require either enrollment on site at a university or college, or are offered as week-long workshops through adult education summer programming. The inability to relocate to a program venue inhibits artistic mastery, as does the limited experience of a week’s class without a systematic follow-up.

The Mastery Program was developed to address this reality. The selected participants study surface design techniques on cloth, and also color, design and the articulation of a personal visual language. Each artist is required to develop a research project related to the dyes, chemicals or paints used as part of the patterning palette. Assembled together, these projects will eventually become a catalogue of research to contribute to the surface design field at large.

Professional behavior is also a topic of discourse. Artists prepared a resume, visual documentation, an artist’s statement and a biography as part of the requirement for completion of the program.

This exhibition is a sampling of the finest work being presented by serious students of surface design today. I expect each of these artists will continue to generate studio work for exhibition after the program is completed. A few may choose to extend their circle of influence by teaching. Others may decide to write a book or produce some other lasting contribution to the field. The future is rich with possibility. It has been my great pleasure to accompany them on this exciting path. I congratulate each on the efforts of the past two and a half years.

Jane Dunnewold