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Art for Energy – Iron, Paper, & Mixed Media Vessel Sculptures
- & Expressionist Acrylic Paintings
Selected Exhibitions:
|
Mar. |
2004 |
New mixed media "Energy Harmonizer" bowl sculptures. Juried group exhibition,
Center Gallery, Sautee, GA |
|
Nov. |
1999 |
Juried group exhibition, Center Gallery, Sautee, GA |
|
Aug. |
1998 |
Invitational show, "Women’s Altars – Women’s Spirituality," The Blue Angel Gallery, Gainesville, GA |
|
Nov. |
1998, 97 |
Juried group exhibition, Center Gallery, Sautee, GA. First paper medicine bags. |
|
June |
1994 |
Invitational exhibition, Macon Gallery, Atlanta, GA |
|
Mar. |
1994, 93 |
"By Women" exhibition, Center Gallery, Sautee, GA |
|
Dec. |
1993 |
Open studio exhibit of vessels, Ecstasy Forge, Clarkesville, GA |
|
Oct. |
1992 |
Invitational show, Habersham Arts Council, Cornelia, GA. First spontaneous iron vessel (won award). |
|
Nov. |
1991 |
Yuletide show, Sautee Nacoochee Community Center, Sautee, GA |
|
Oct. |
1991, 89 |
Invitational show, Habersham Arts Council, Cornelia, GA. First paper vessels. |
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Nov. |
1989 |
Invitational exhibit of 9 artists, Gallery 87, Cumming, GA |
|
Oct. |
1987, 88 |
Invitational show, Habersham Arts Council, Cornelia, GA |
|
May |
1987 |
ABANA conference exhibit (Artist Blacksmiths Assn. of N. America), Madison, GA.
Second iron vessel. |
|
May |
1987 |
Invitational show, "The Blacksmith’s Art," Madison-Morgan Cultural Center, Madison, GA.
First iron vessel. |
|
Dec. |
1984-
1987 |
Annual open studio (Foothills Guild Tour) and juried craft shows including Village Show sponsored by New Morning Gallery in Asheville, NC, and group exhibit at Arts Festival of Atlanta. |
Selected Publications:
|
2003 on |
Hand Forged Vessels, online artist journal. |
|
2003 |
The Painter’s Keys website, Robert Genn, photo of "The World Egg is Opening" and writing on "Journal Techniques." |
|
2000 |
The Contemporary Blacksmith, Dona Meilach, Schiffer Press, pp. 152-153. Two pages of color photographs of three iron vessels. |
|
1994 |
The Rural Sophisticate, winter issue. Cover photograph and feature interview by Linda Bulloch. |
|
1990 |
The Anvil’s Ring, summer & fall issues, photographs of iron bowls. |
|
1989 |
color poster of bowl for ABANA traveling exhibit on contemporary ironwork. |
|
1989 |
1990 Calendar featuring north Georgia artists - photograph of first iron bowl. |
Other Recognition:
|
1995 |
Invitational 3-artist show, Georgia Southern University |
|
1992 |
Award for "Reclaiming the Fire" bowl, Habersham Arts Council |
|
1990 |
Demonstrated at national blacksmithing conference, ABANA, Alfred, NY |
|
1990 |
Offered lifetime residency by Francis Whitaker, at the
Colorado Rocky Mountain School |
|
1990 |
Offered residency at John C. Campbell Folk School, Brasstown, NC |
|
1990 |
Scholarships to Penland and Arrowmont craft schools for papermaking |
|
1988 |
Scholarships to John C. Campbell Folk School |
|
1984 |
Invited to become founding member of Foothills Guild in north Georgia |
|
1984 |
Invited to become exhibiting member of Georgia Mountain Crafts |
Bodies of Work:
|
2004 |
Energy Harmonizers –mixed media vessel sculptures |
|
1996 - 1997 |
Chi Energy paper medicine bags – soft vessels |
|
1992 - 1994 |
Creative Fire openwork iron bowls |
|
1990 - 1991 |
paper bowls (molded oriental paper, painted with acrylics) |
|
1987 - 1990 |
commissioned chandeliers and other light fixtures |
|
1986 - 1987 |
openwork iron fruit bowls |
|
1983 - 1987 |
blacksmithing production items and custom ironwork (fire tools, trivets, door handles, candleholders, hooks, bathroom fixtures, etc. |
Professional Training:
|
1998 |
"Spontaneous Painting" (Maxine Waterman techniques) with Frederica Bishop, Sautee-Nacoochee Community Center, Sautee, GA |
|
1995 |
Calligraphy, four day-long workshops,
Friends of the Alphabet,
Atlanta, GA |
|
1991-97 |
Part-time apprenticeship with woodworker Marjorie Felder, Clarkesville, GA |
|
1990 |
"Rethinking the Sacred Image" conference,
Nexus Art Center,
Atlanta, GA |
|
1990 |
ABANA conference, Alfred, NY |
|
1989 |
"Expressive Design in Ironwork" conference, Penland, NC |
|
1988 |
Copper Sculpture, Ed Gray, John C. Campbell Folk School |
|
1988 |
ABANA conference, Birmingham, AL |
|
1988 |
Drawing, 2 quarters, Dianne Mize Studio, Clarkesville, GA |
|
1987 |
Quad State Blacksmiths’ Conference, Tipp City, OH |
|
1985 |
Drawing, 1 quarter, Dianne Mize Studio, Clarkesville, GA |
|
1984 |
Oxy-acetylene welding, 1 quarter evening class, N Georgia Technical Institute, Clarkesville, GA |
|
1984 |
ABANA conference, DePere, WI |
|
1983 |
Southeastern ABANA conference, Madison, WI |
|
1979-88 |
15 weeks of blacksmithing workshops with Francis Whitaker, Brent Kington, Paul Lundquist, Jud Nelson, and Peter Ross at Arrowmont and at John C. Campbell Folk School |
|
1978 |
Calligraphy workshop with Margaret Rigg, Callanwolde, Atlanta, GA |
|
1955-57 |
Assisted parents in sign studio, doing pen calligraphy for signs |
Formal Education:
|
1972 |
M.A. Psychology, Georgia State University, Atlanta, GA |
|
1969 |
A. B. with General Honors, Phi Beta Kappa, Sociology, University of Chicago |
Travel to Craft & Art Museums & Galleries:
|
2001 |
Pachuca and Puerto Vallarta, Mexico |
|
1990 |
New York, Denver, Aspen, San Francisco |
|
1989 |
Berlin, Hanover, Koln, Paris including blacksmiths’ studios (month) |
|
1988 |
Mexico City |
|
1987 |
Samuel Yellin exhibit, University of Georgia, Athens, GA |
|
1986 |
Mexico City |
|
1983 |
Mint Museum, Charlotte, NC, "Toward a New Iron Age," |
Other Self-Directed Study & Experimentation:
|
2000-present |
Color theory & mixing. Joining iron, paper, copper mesh to form mixed media vessel sculptures. |
|
2000 |
Color and finishing options for steel: encaustics, Genesis oils, enamels, poly-oil, patinas, and more. Health and environmental hazards of color and finish options and of other studio materials and supplies. Solutions to hazardous waste from studio. New series of finishing tests on steel. |
|
2000 |
Making maquettes for paper and iron bowl sculptures. |
|
2000 |
Emotional and mental effects of specific line divisions & angles. |
|
1996-97 |
Emotional and mental effects of specific numbers. |
|
1996-present |
Emotional and mental effects of specific colors & gemstones.
|
|
1996 |
Using analog paintings as part of design process.
Using music and dance as part of studio process. |
|
1995 |
Emotional and mental effects of specific eye movements. |
|
1991-present |
Using
Perelandra nature processes with studio process. |
|
1993 |
MIG welding. |
|
1991-1994 |
Spontaneous sculpture in steel. |
|
1990-95 |
Ritual and ritual art; deep ecology; ecofeminist and postpatriarchal art. |
|
1990-present |
Long-term tests of finishes on steel. |
|
1990-91 |
Molding oriental paper. Making mask molds and paper masks.
Painting spontaneously. Preserving plant forms for collage. Paper collage on steel. |
|
1990 |
Relationship between nonverbal gestures and bowl profiles. Emotional and mental effects of specific bowl profiles.
Fibonacci sequences in nature, in relation to bowl design. |
|
1986-present |
Using dreams & dream interpretation to facilitate artmaking. |
|
1986, 89 |
Creativity Mobilization Training ("mess-painting") to facilitate spontaneous artmarking. |
|
1984-95 |
Feminism, feminist art, and women’s spirituality. |
|
1983-present |
Using Ira Progoff’s journal processes to facilitate artmaking. |
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1979-present |
Methods of facilitating artistic development and skill development, incorporating sports psychology & achievement psychology as well. |
|
1965-present |
Methods of facilitating personal, group, and cultural change. |
|
Childhood-present
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Trees, wild plants, interspecies communication, Native Americans, organic architecture, music, writing, calligraphy. |
Metal Sculpture Commissions:
|
1990 - present |
Declined commissions in order to concentrate on mixed media experiments. |
|
1987 - 1989 |
Design & completion of 31 light fixtures for mansion in Anderson, SC |
|
1983 –1986 |
Many commissions for interior ironwork, all original designs |
Selected Teaching & Coaching Experience:
|
1997 |
Introductory blacksmithing workshop at my studio |
|
1996 |
"Expressiveness in Iron" at John C. Campbell Folk School, Brasstown, NC |
|
1993 - 1995 |
Coaching individual clients to facilitate their creative process, in wide range of creative pursuits |
|
1993 |
"Women’s Blacksmithing Day" introductory workshop at my studio |
|
1993 |
Blacksmithing, John C. Campbell Folk School, Brasstown, NC |
|
1993 |
"Relaxing Into Creativity," 13-week class based on Julia Cameron’s The Artist’s Way, Habersham Medical Center Wellness Program, Demorest, GA |
|
1990 -1993 |
Weekly artists’ group to facilitate ongoing artistic development, Clarkesville, GA |
|
1992 |
"Gesture, rhythm and drawing." Special Arts Festival, Sautee, GA |
|
1991 |
"Claiming Women’s Creative Power" at Southern Women’s Festival, Cleveland, GA |
|
1990 |
"Finding One’s Own Way with Iron" demonstrations at ABANA international conference, Alfred, NY |
|
1987 |
Forging copper, demonstrations at Quad State Blacksmithing Conference, Tipp City, OH |
|
1987 |
Private students in basic blacksmithing techniques |
Memberships:
ABANA (Artist Blacksmiths Association of North America)
American Craft Council
Many online forums and mailing lists on art, blacksmithing, metalwork, collage, painting.
Strongest Influences:
Sculptors: Henry Moore, David Smith, Louise Nevelson, Barbara Hepworth
Painters: O’Keefe, Franz Marc, Monet, Matisse, Chagall, Frankenthaler
A three page print version
of this full resume is also available in .pdf format.
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More about Catherine Jo Morgan:
Press Release
Artist Information Sheet
Artist Statement
Bio
One Page Resume
Full Resume
Testimonials - Iron Morgan Bowls
Chronology
The Studio - Ecstasy Forge
Early Journal on Process
Weblog: Hand Forged Vessels, an online artist journal
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