WTP Central Studio Tour: Renae Barnard

Studio Tour: Renae Barnard

The Studio Tour series offers an inside peek into the work environments of WTP artists, as well as insight into their creative process within these resonate spaces.
By Jennifer Nelson, WTP Feature Writer
Renae Barnard is recognized by the United States Green Building Council (USGBC) as a Leadership in Energy Accredited Professional (LEED AP) and by the International Institute for Bau-biologie® & Ecology as a Building Biologie Practitioner. She has recently completed projects in cooperation with the National Immigration Law Center and the City of Santa Monica Department of Cultural Affairs. She is a recipient of the Sue Arlen Walker and Harvey M. Parker Memorial Fellowship, the Armory Center for the Arts Teaching Artist Fellowship, The Ahmanson Annual Fellowship, Lincoln Fellowship Award, and Christopher Street West Art and Culture Grant.
For Renae Barnard, her studio is on the go. She weaves in her lap; bowls of salt mixture are evaporating on her front porch; she may rent out temporary spaces around Los Angeles as her projects require. For her most recent public work, at Bergamot Station, Santa Monica, California, she shared space with other artists in a large commercial building in Boyle Heights. “Sharing space with other artists on a short-term basis allows me the access to equipment I may need,” she says, “like a spray room, wood shop, or kiln without the financial burden of permanent overhead.”
Nevertheless, she faces challenges when sharing space, the main one in Los Angeles, not having a parking space. This meant that Barnard had to haul sculpture materials down a sidewalk to a metered parking space. “It’s not always the most convenient, but it’s manageable,” she says.
For two years, her studio was a tiny white box in Claremont, a city thirty miles east of Los Angeles, where she kept weaving and sewing materials, as well as tripods for her photography. Many of the materials were incorporated into works such as “Displaced Tinder,” a sculpture of twisted medical exam paper wound around school chairs.

With time, she has realized form through repetitive movements like weaving, sewing, and twisting motions. Now she is experimenting with other modes of accumulating form, including a series of fiber sculptures of cotton batting, upholstery foam, and polyester fiberfill scraps discarded by furniture manufacturers. These materials are supplemented with water-based paints by Dunn Edwards, salt, water-based glues, and vinegar. “I’m interested in the ways in which basic chemistry might create form beyond those achievable with my hands,” says Barnard.

To work, Barnard requires silence and solitude. She doesn’t want music, visitors, or lingering clutter. Her process is generally exploratory, allowing room for discovery along the path and at the finish. There’s an undercurrent of chaos that she’s always wrestling with. The outcome is not a literal display of the problem, nor is it offering a solution. It is a record of the thought process and the struggle: “I’m interested in examining our situations and hopefully moving beyond the place where we stand now.”

See Renae Barnard’s work in Vol. VI #4
Copyright 2018 Woven Tale Press LLC. All Rights Reserved.

Les Femmes Folles: The Women, 2014

Happy Women’s History Month! Available March 1 on Blurb.com:

Les Femmes Folles: The Women, 2014, is the fourth annual anthology including art, interview excerpts, poetry and short-form writing by women in all forms, levels and styles of art from around the world. Cover art by Christine Stoddard.

Writes author Cat Dixon (catdix.com): "Again Les Femmes Folles (now in its fourth year) delivers powerful poetry and inspiring art from some of the finest women producing creative work. From Laura Carlson's studio shot that begins the book to Susan Bee's bright collage and oil on canvas to Selima Dawson's powerful black, gray and red painting to the raw poetry of Andrea Potos…every page vibrates with intensity and vulnerability. Make no mistake: these women are proud, strong and fierce. The end of the book features a quote from beloved artist Wanda Ewing that says "You be you." Here each artist is herself and the book embraces the individual styles of the artists and writers. When these different artists are combined in one collection, the result is passionate and memorable."

Writes poet Sara Henning (sarahenning.net): "In Les Femmes Folles: The Women, 2014, expect to encounter a literary feast of feminism, a cornucopia of works and interviews from female artists and writers, a soirée of the divine feminine spirit that has always surged from patriarchy’s confining thumb-hold. Here, the fourth annual edition continues a lineage of female empowerment vetted in the previous editions, drawing on the sage guidance that women have shared with each other, words that have kept us alive. ‘Resist that anxious feeling that time is running out,’ Stephanie Kadel Taras tells us in one interview, ‘your artistic life lasts your whole life.’ Or as Ayn Frances dela Cruz tells us, ‘If art does things to you, makes you see and feel things, makes your heart beat you know, if you live it and breathe it, then maybe you could have a fuller, happier life in pursuing it.’"

Contributors include: Linda Adato, Beatriz Albuquerque, Renae Barnard, Sharon Louise Barnes, Susan Bee, Sandra Bouguerch, Tracy Brown, Jessica Burke, Laura Carlson, Amy Cerra, Olivia Ciummo, Tusia Dabrowska, Andrea Davis, Selima Dawson, Ayn Frances dela Cruz, Aster V. Delgado, Karen Fitzgerald, Sheila Grabarsky, Zoe Hawk, Megan Hildebrandt, Cindy Hinant, Breanne Holden, Patricia Izzo, Nugent Kos, Alinta Krauth, Melissa Ann Lambert, Erin Leland, Robin Little, Amelia Marzec, Rachel Mindrup, Mother Art Collective, Ellen Mueller, Christie Neptune, Christy Nicholas, Jane Odartey, Cathleen Parra, Stacey Piwinski, Joyce Polance, Caroline Record, Cindy Rehm, Martha Rial, Lauren Rinaldi, Elizabeth Ross, Marisol Salanova, Asia Scudder, Evelin Stermitz, Christine Stoddard, Simone Stoll, Brenda Stumpf, Bonnie MacAllister, Katrin Talbot, Cendres Lavy, Isabel Perez del Pulgar, Susana Amundaraín, Marlana Adele Vassar, Amy Gigi Alexander, Liz Axelrod, Tanaz Bhathena, Susana H. Case, Sarah A. Chavez, Carol Ciavonne, Kirsten Clodfelter, SuzAnne C. Cole, Julie Schwietert Collazo, Sally Cooper, Kate Falvey, Jamie Feldman, Sherese Francis, Sara Henning, Fran Higgins, Patrina Jones, Stephanie Kadel Taras, Kelli Stevens Kane, Sandra Gail Lambert, M. Mack, Mariana McDonald, L.Nahay, Andrea Potos, Nicole Provencher-Natale, Vanessa Raney, Gabrielle Selz, Emma Jo Stankiewicz, Donna Steiner, Jennifer MacBain Stephens, Judith Gold Stitzel, Nicole Tong, Joanna Valente, Deb Vanasse, Saira Viola, Amy Schriebman Walter, Phyllis Wax, Patricia Wellingham-Jones, Allison Wilkins, Laura Madeline Wiseman, Sara Landas and Holli Rae, Muriel Louveau, Mary Carrick and Maia Kumari Gilman.

Les Femmes Folles is a volunteer organization founded in 2011 with the mission to support and promote women in all forms, styles and levels of art from around the world with the online journal, print annuals, exhibitions and events; originally inspired by artist Wanda Ewing and her curated exhibit by the name Les Femmes Folles (Wild Women). LFF Books is a micro-feminist press that publishes 1-2 books per year by the creators of Les Femmes Folles including Intimates & Fools (Laura Madeline Wiseman, 2014) and The Hunger of the Cheeky Sisters: Ten Tales (Laura Madeline Wiseman/Lauren Rinaldi, 2015). Other titles include Les Femmes Folles: The Women 2011, 2012 and 2013, available on blurb.com, including art, poetry and interview excerpts from women artists. A portion of the proceeds from LFF books and products benefit the University of Nebraska-Omaha’s Wanda Ewing Scholarship Fund.

Femmesfollesnebraska.tumblr.com; Facebook.com/femmesfolles; Twitter.com/lffsallydeskins Lesfemmesfollesbooks.tumblr.com; Facebook.com/bookslesfemmesfolles; Twitter.com/lffbooks

Displaced Tinder

Renae Barnard is a multi-disciplinary artist living and working in Los Angeles. Her work investigates the undeniable relationship between biology and culture as well as the potential and limits of these two forces. Barnard's work has been shown at Shoshana Wayne Gallery, Berkeley Art Center, Los Angeles Municipal Gallery, SOMArts Gallery, Harriet & Charles Luckman Gallery, Pete & Susan Barrett Gallery, Grace Albrecht Gallery and in a collection of local and international film festivals.

In Situ: A Summer Exhibition at Shoshana Wayne Gallery

Summer Group Show 


Renae Barnard, Hazing Period, 2014

Renae Barnard, Vera Bauluz, Tofer Chin, Abdul Mazid, & Patch Wright


July 19-September 06, 2014

Reception July 19, 2014 5pm-7pm

Shoshana Wayne Gallery is pleased to present

In-Situ , a summer group exhibition by emerging Los Angeles artists never before shown at the gallery.  Working in a variety of mediums, the selected works by Renae Barnard, Vera Bauluz, Tofer Chin, Abdul Mazid, and Patch Wright offer an invitation to think about the relationship between place and identity and how the artists' hand and materials of choice are inextricably linked to critique.  Here, each artist either re-purposes, re-articulates, or re-imagines a given article and imbues it with new life and new meaning.

Renae Barnard creates a soft sculpture from paper, thread, and ribbon, materials, and tactility typically associated with women and ascribed little consequence in the world.  Each of Barnard's sculptures with their intricate twists, coils, folds, splits, and tears challenge the viewer to see beyond traditional and conventional modes of identity representation.

Vera Bauluz presents found objects (janitor's mops, brooms, and shoes) that alone have little meaning to the world aside from signifying another's undesirable labor. Bauluz covers these heavily coded objects with gold leaf and at once blurs the distinction between the mundane and the worthless with that of beauty and value.

Tofer Chin explores the relationship between architecture and the natural world, illuminating ease and delicacy in the angular and rigid with his paintings and sculptures.  As part of an ongoing series, Chin's re-imagined stalagmites symbolize living and breathing beings in an environment.  They command attention while at the same time blending into their surroundings alluding to the contentious relationship between humans and nature.

Abdul Mazid is a multi-disciplinary conceptual artist who selects materials already imbued with heavy symbolism (sports collectibles, glitter, razor wire, Middle Eastern rugs, etc.) and re-works them until they have a specified social and political meaning.  For Mazid, born to a Syrian father and Mexican mother in California, identity and place inform much of his work. Mazid's singular coupling of mediums and ideas reflects his own experience of hybridity.

Patch Wright works in the realm of the mysterious creating objects that are simultaneously familiar and otherworldly.  The chasm between the viewer's perception/experience and the artist's work is precisely space from which Wright finds strength.  Demonstrating mastery over his materials, Wright pushes up against all conditions of possibility morphing the grotesque into the beautiful and the minute into the colossal.

For more information, please contact Alana Parpal


Home Makers? An Exhibition of 25 Women Artists In & Around an East LA Underground Tunnel


July 12, 2014 6:00pm-10:00pm

Los Angeles (May 1, 2014)

Presenting more than 75 works by 22 female artists,

HOME MAKERS? is the first Los Angeles exhibition to highlight women makers in a setting free from the hierarchies that segregate fine arts and crafts. Curated by Renae Barnard, this exhibition connects women artists from diverse communities directly with visitors for one night only:

Saturday, July 12 from 6:00pm-10: 00 pm.

Operating outside the traditional art market, the exhibition will take place in an underground tunnel in East Los Angeles and provide 100% of sales directly to the participating artists. The tunnel walls will feature photography by Leila May, Maria Garcia-Clark and Cathleen Parra, paintings by Alice Maldonado, Elwing Gonzales, and Nicole Reyes, illustrations by Cheryl Angel and Olivia Healy-Mirkovich, and sculptural fiber works by Renae Barnard, Fang Li, Jacqueline Meyers-Cho, Kin Chen and Vanessa Fry.

The above ground intersection will be temporarily closed to traffic allowing for installation artists Diana Madriaga, Debbie Carlson, Jaklin Romine, and Olga Lah to take over the street. Ceramicists Sharon Hardy and Sarah Hagen will be hosting vignettes of their work above ground alongside fiber artist Cara Mullinary, Julie Roth and Julie Kornblum and sculptors/ jewelry designers Terina Nicole and Robin Little. Master of Ceremonies Rebekkah Waites will be spinning tunes all evening and introducing an exceptional performance by Jessica Ceballos at 7:30 pm.

General Information:

Cypress Village Tunnel 3400 N. Figueroa Street Los Angeles CA 90042

Saturday, July 12th 6-10pm.

Street parking on Figueroa. Loreto Street closed to traffic.

Admission: Free of charge