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"The human figure has been an absorbing visual fascination in my work. I use the figure in voyeuristic situations in which irony, humor, absurdities portray human behavior as a relief from society’s pressure and frustrations on mankind. At times, I use the figure in complex arrangements so that it will be seethingly alive. I like the visual stimulation of portraying human energy, as a way to compare it to any biological organization found in nature."



Drunken Power Series

"We live in interesting times.  At the turn of the millennium, there seemed to be a moment of optimism of what the future would bring.  It is evident that all is not well in the world.  I find as an artist it is hard to ignore the incompetence that has affected the future of our world.
 
In response to these immediate events, I have created works titled the “Drunken Power Series” that imply political, social, and environmental scenarios that have effected the future and the quality of life. The use of the sake sets as a metaphor becomes the stage for the vignettes to appear. The symbolic act of sharing a cup of spirits sets the tone for this participatory act.  The pouring vessels and cups are the subjects of conversation and act as conveyance for the discourse in this world that is drunk with power. "
 
Patti Warashina
November 2006




"The Rome Series: Portraits, studies of large female heads, evolved because of my interest in he figure and in response to my extended stay in Rome several years ago. These studies were be followed by another series of large columnar figures based on caryatids, recalling remnants from Hadrian‚s Villa in Tivoli. References to the head as an Ionic capital is loosely connected by the spiral gestures of the hair, but also used to indicate movement in contrast to the weight and scale of the form. My daily encounters in Italy revealed numerous classical statues of gods and goddesses in unexpected places, much like electrical poles standing amid the daily life of its citizenry. After a length of time, it became subliminally reassuring, how normal that such an encounter could be. After five centuries, the angels on the bridge continued to welcome me on my daily walks to complete errands, completely intact with only erosion and soot to reveal their age. It was an extraordinary as well as a foreign feeling to be part of the ages of the Graces. I awaken to find myself back in Seattle."

Born 1940, Spokane, WA

1964 M.F.A. University of Washington, WA
1962 B.F.A. University of Washington , WA
2002 Twining Humber Award, Artist Trust, Seattle
1986 & 1975 National Endowment for the Arts Fellowship

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