Recurrent Work / Book
























Images of Heather Watkins – Recurrent Work, recently published in conjunction with my one-person exhibition at The Art Gym at Marylhurst University. The book features two exquisite texts – a spatialized poem, and an essay – by Stephanie Snyder, Director and Curator of the Douglas F. Cooley Memorial Art Gallery, Reed College, Portland, Oregon. The book's design, beautifully executed by Adam McIsaac / Sibley House, includes over one hundred work examples, with emphasis on ink- and fiber-based works created over the past five years.

The book is available for purchase ($20) through The Art Gym, by emailing bshell@marylhurst.edu. A lo-res downloadable pdf of the book is available here.

This publication was made possible through the help and generosity of Jane Beebe of PDX Contemporary Art in Portland, Oregon; the Harold & Arlene Schnitzer CARE Foundation and Linda Hutchins and John Montague, contributors to The Art Gym Publication Fund; and collectors and art advocates Dorothy Lemelson, Sarah and Andrew Meigs, Mary Caulkins, Thomas Cody, Anne and James Crumpacker, Mary and Spencer Dick, JoAnn Gonzales Hickey, Deneen King, Carol Smith-Larson, David Lessoff, Sarah Dougher and Nathan Overmeyer, Travers Hill Polak, the Shipley Family, Jonathan Snyder, Andrea and Jon Walker, Nell Warren and Greg Misarti, and anonymous donors.

Recurrent Work at The Art Gym

































Installation views of the exhibition Heather Watkins – Recurrent Work, on view at The Art Gym at Marylhurst University, Marylhurst, Oregon, February 24-April 2, 2014.

The exhibition was curated by Terri M. Hopkins, director and curator emerita of The Art Gym. In conjunction with the exhibition, The Art Gym has published Heather Watkins – Recurrent Work, a book featuring an in-depth essay and poetic text by Stephanie Snyder, Curator and Director of the Douglas F. Cooley Memorial Art Gallery at Reed College, and was designed by Adam McIsaac/Sibley House.

For more information about the exhibition and the book, please visit this link: http://www.marylhurst.edu/arts-and-events/art-gym/art-gym-exhibitions/current-exhibition.html

Score at Portland State University's Lincoln Performance Hall



Score, 2014. India ink, cotton cord, mild steel





Score, a permanent installation commissioned by Portland State University for Lincoln Performance Hall, part of Oregon's Percent for Art in Public Places program, managed by the Oregon Arts Commission. Project assistance by: Matthew D'Amboise (installation); Zoƫ Clark (installation); Rob Off (mounting system); Abigail McNamara (fabrication); Joel Martinez, Kris Wallsmith, Jim Meakin, Katie Savastano (special ops). Photography by Evan La Londe.



Work in Progress


Studio shot of work in progress for an upcoming commission at Portland State University.

Object Stories

Small Medium, 2013















The APEX exhibition is over, but you can still visit my work at the Portland Art Museum, in the Object Stories gallery, on view until November 16, 2013. You can also hear me talking, either at the museum's kiosk in the gallery, or here: http://www.objectstories.org/stories/#!/?Story=bd3a2e42-da05-e311-93f8-002590a49a95

APEX: Heather Watkins at Portland Art Museum























APEX: Heather Watkins, a solo exhibition at the Portland Art Museum, is on view until October 20, 2013. The exhibition includes a new sequence of my ongoing drawing series Surfacing (2008-present); two fiber-based sculptural works (Medium and Medium II, 2013); Transcript (2013); a 25-foot scroll drawing; and Sessions (2013), a series of archival digitally-printed folios. Funding for this exhibition was provided by a Career Opportunity Grant from the Oregon Arts Commission and The Ford Family Foundation.

New Drawings
























details of new drawings from the Surfacing series that will be on view this summer at the Portland Art Museum (July 20-October 20, 2013). The Portland Art Museum's APEX series presents the work of four contemporary northwest artists each year. My work for this exhibition is generously supported in part by grants from the Oregon Arts Commission and The Ford Family Foundation.