Open Studio Showcase Review

Open Studio Showcase Review

Fine artist Renae Barnard opened the doors to her private studio location in Los Angeles for an exclusive showcase Sunday, May 27th. Invitees were the first to preview recently completed works by the artist.


Working through a variety of mediums, Barnard's studio is thoughtfully curated with paintings, sculptures, and installations. Her latest work includes paintings and sculptures made with salt. This mineral inclusion creates natural formations and crystalline surface qualities when combined with paint.

Throughout the event, Barnard generously shares insights into her artistic process and material explorations with guests.

Her multi-media works incorporate recycled materials from the furniture manufacturing industry to create sculptural foundations for painting. The organic formations and layered textures reference natural earthen elements and minerals. A gem-like color palette of low-VOC paints was specially provided by Dunn-Edwards in support of this eco-conscious project.

The artist displays her collection of gemstones; a personal vignette of inspiration for these new works.

"Many of my sculptures are worked within inches of collapse and reflect my attraction to the imperfect and aged" says Barnard. This is a recurring theme seen throughout the artist's body of work. Her latest sculptures also experiment with paint and salt, and are displayed in crumbling volcanic formations. The fractured surfaces reveal saturated colors and tectonic layering.

Illuminated installations by Renae Barnard add ambiance to the intimate studio space. Made from recycled plastic sheeting, the artist knots and drapes the materials into cloud-like sculptures. The lightweight material floats above guests heads with a soft glow.

The event was well attended by private collectors, local journalists and close colleagues of the artist. A quick walk-through of the studio showcase featured artworks at every turn. The diversity of media and artistic process reveal Barnard's pleasure of the hand-made.


Mauveine State a paper sculpture on display by the artist was meticulously dip dyed by hand to reveal the delicacy of each layer. Barnard often pushes the limits of materials in her own works to reveal their delicacy and transience. Her intrinsic approach delights in the tactility and decadence of making in a way that viewer's are immediately drawn to.

Barnard has a Master of Fine Arts degree from Claremont Graduate University and 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, the Lincoln Fellowship Award and the Christopher Street West Art & Culture Grant.

Barnard has created site specific, socially engaged works and exhibited at local and international galleries/film festivals including Shoshana Wayne Gallery, Los Angeles Municipal Art Gallery, Rutgers University, Towson University, Drake University, Harriet & Charles Luckman Gallery, SOMArts Gallery, Pete & Susan Barrett Gallery, LGBT Film Festival Boston, Long Beach LGBTQ Film Festival, Tampa International LGBTQ Film Festival, and the Bergamot Station Arts Center in Santa Monica among others. To learn more about Renae Barnard, please visit:


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.

Claremont Graduate University's 2015 Open Studios

Join us at Claremont Graduate University's 2015 Open Studios Event. Sunday May 3rd, 2015 from 11am-5pm. Art Studios are located in the CGU Art Department building at 251 E. 10th Street Claremont, CA 91711. For more information visit or call 909-607-3631.

Open to the Public. Free of charge.

Les Femmes Folles: The Women, 2014

Happy Women’s History Month! Available March 1 on

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 ( "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 ( "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, 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.;;;;