You Don’t Know Me
My current artistic practice engages with a series of questions about our culture’s multifaceted relationship to nature and the geography of human/animal interactions in urban, rural, and wilderness settings. These inquiries are utilized to contemplate various issues about the natural world and the concept of representation of animals and the environment. I create artworks based on first-hand observations and internal responses to objects, illustrations, and texts about various species. In the work, animals and plants serve as emblems of nature and as metaphors for human desires.
— Kirsten Furlong
House Contents Grounds
The “peculiar miracle” of painting (as Philip Guston once described it) is that pushing colored dirt around a flat surface can, in all its crude bluntness or sumptuous finesse, restore the mundane physical world to us anew. In its uncanny, mysterious alchemy, painting arrests our attention, asking us to attend to the familiar appearance of things seen but edging toward invisibility in plain sight, calling upon the viewer to stop and look, to be blindsided by a sudden shock of recognition. In one recent series entitled House Contents Grounds I have sought to recapture a lost time and place. This arose from the unlikely rediscovery, in a box of junk, of a nearly two decades old video tape made on a visit to my ancestral home in Alabama. My grandmother had scrawled upon it “Bill made this” and put it in my suitcase. Because I thought of it then as something made out of curiosity at how a camcorder worked, it was tucked away and forgotten about it. Viewing the imagery again felt like a revelation: something akin to Proust’s Marcel tasting the madeleine near the opening of Swann’s Way. Though the content was mundane, the effect on me was profound, and I set out to place myself once again in that long ago context – through the act of painting.
No matter how distant, forlorn or humdrum, the sheer fathomless variety of the world demands we be patient witnesses, gleaners of its unsung splendors.
— William Lewis
Kirsten Furlong explores the interplay between culture and nature and the relationships between humans, places and animals in her drawings, prints and installations. She was born in Milwaukee, WI and received a BFA in Painting from the University of Nebraska and a MFA in Visual Art from Boise State University. She has been awarded residencies from the Montello Foundation, Jentel Foundation, Brush Creek, PLAYA, and Denali National Park. Kirsten has been the director of the galleries and a lecturer in the Art Department at Boise State University since 2005.
William Lewis has family roots in the mid-western and southern United States. He lived in New York City and Paris during his art school years attending Parsons School of Design, Hunter College (BFA) and New York University (MA). Boise, ID has been his home since 1997.
Lewis has work in the permanent collection of the Boise Art Museum and has been included in three Idaho Triennial exhibitions. His works are in the City of Boise’s Portable Works and Boise Visual Chronicle Collections. A suite of paintings called Artifact is permanently installed in the Boise Public Library’s Hillcrest branch.
Lewis was nominated for the Pacific Northwest Art Awards and was a recipient of the 2011 Fellowship award of the Idaho Commission on the Arts. He also received Merit Awards from the 2010 and 2013 Idaho Triennial exhibitions.