I had my first painting show with a major San Francisco gallery,
Braunstein-Quay, in 1991. Since relocating to Austin, Texas in 1994, I have shown
my work at numerous venues including Robert McClain Gallery in Houston,
The Dallas Contemporary and the MAC, Women and Their Work, and David
Berman Gallery in Austin.
In the 1970’s and early 1980’s I danced in the companies of Margaret Jenkins
and Joe Goode, both based in San Francisco, as well as making my own
work and teaching.
For gallery information go to http://www.dbermangallery.com.
Articles of Interest:
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Braunstein-Quay, in 1991. Since relocating to Austin, Texas in 1994, I have shown
my work at numerous venues including Robert McClain Gallery in Houston,
The Dallas Contemporary and the MAC, Women and Their Work, and David
Berman Gallery in Austin.
In the 1970’s and early 1980’s I danced in the companies of Margaret Jenkins
and Joe Goode, both based in San Francisco, as well as making my own
work and teaching.
For gallery information go to http://www.dbermangallery.com.
Articles of Interest:
------------------------------------------------------------------------------------------------------
February 17, 2009
Interview of Naomi Schlinke by Norbert Marsalek
Neoteric Art Journal / full text at:
http://neotericart.com/2009/02
Neoteric Art Journal / full text at:
http://neotericart.com/2009/02
April 28,2009
August 8, 2009
Interview of Naomi Schlinke and Sydney Yeager by Madeline Irvine
full text at : http://www.austinchronicle.com
_______________________________________________________________________
full text at : http://www.austinchronicle.com
_______________________________________________________________________
September 8, 2006
Naomi Schlinke + Gladys Poorte at dberman gallery
Reviewed by Nikki Moore in Austin Chronicle
full text at: http://www.austinchronicle.com
What surprises me every time I hear artists and curators speak
or write about process art is that the emphasis is always on the
interaction of materials in an environment or under specific
conditions, and what goes unmentioned is the "creatorly" power
of the artist herself. D. Berman's joint exhibition of work by Naomi
Schlinke and Gladys Poorte is an illumination of this tension in
the extreme…
On one side of the gallery, Schlinke's work is a striking and stirring
shrine to event- and materials-oriented imagery where the hand of
the artist is desperately trying to erase itself. Made with only India
ink and clay-board, Schlinke's creations have an organic and biological
appeal. They are, as the artist describes them, "materials under stress"
in an uncertain milieu. Working on macro and micro scales, these
images of what happens when ink falls prey to pressure, time, and
manipulation are beautiful – but if and only if you also consider, say,
bacteria under a microscope beautiful.
The parallel herein is more intimate than the artist reveals or possibly
even realizes. Though Naomi Schlinke describes her work as simply
process and "not reliant on cultural signifiers," it is indeed, outside of
the Blanton's recent "New, Now, Next" and "Paul Chan" exhibits, one
of the most sign-posting works of cultural revelation I have seen in the
last two years in Austin art. It is an indication of just how diligently
contemporary culture is trying to erase its own ego from the world in
which we live: It is an indication of just how badly we hope to describe
our own existence as simple systems and elegant materials under
unknown stress.
----------------------------------------------------------------------------------------------------
Reviewed by Nikki Moore in Austin Chronicle
full text at: http://www.austinchronicle.com
What surprises me every time I hear artists and curators speak
or write about process art is that the emphasis is always on the
interaction of materials in an environment or under specific
conditions, and what goes unmentioned is the "creatorly" power
of the artist herself. D. Berman's joint exhibition of work by Naomi
Schlinke and Gladys Poorte is an illumination of this tension in
the extreme…
On one side of the gallery, Schlinke's work is a striking and stirring
shrine to event- and materials-oriented imagery where the hand of
the artist is desperately trying to erase itself. Made with only India
ink and clay-board, Schlinke's creations have an organic and biological
appeal. They are, as the artist describes them, "materials under stress"
in an uncertain milieu. Working on macro and micro scales, these
images of what happens when ink falls prey to pressure, time, and
manipulation are beautiful – but if and only if you also consider, say,
bacteria under a microscope beautiful.
The parallel herein is more intimate than the artist reveals or possibly
even realizes. Though Naomi Schlinke describes her work as simply
process and "not reliant on cultural signifiers," it is indeed, outside of
the Blanton's recent "New, Now, Next" and "Paul Chan" exhibits, one
of the most sign-posting works of cultural revelation I have seen in the
last two years in Austin art. It is an indication of just how diligently
contemporary culture is trying to erase its own ego from the world in
which we live: It is an indication of just how badly we hope to describe
our own existence as simple systems and elegant materials under
unknown stress.
----------------------------------------------------------------------------------------------------
May 6, 2004
Naomi Schlinke + Sandra Fiedorek at dberman gallery
Reviewed by Erin Keever in "In the Galleries Austin"
full text at: http://www.inthegalleries.com/
d berman gallery presents another accomplished show juxtaposing the work
of Sandra Fiedorek and Naomi Schlinke. The work of these two artists looks
beautiful together in a formal sense, repeating organic circular shapes set
within the rectilinear (Schlinke) versus square (Fiedorek) formats. Their work
is equally challenging and difficult to decipher. Fortunately for the viewer,
the similarities end there...
Naomi Schlinke's works on paper contain visual references to her own interests.
Combining a variety of media such as charcoal, corrugated cardboard, paint
and photography, she incorporates decisions about space, dimension, texture
and line, creating very personal, symbolic and mysterious imagery.
Many of her works in this exhibition are divided into two or three planes. For
example in Antique Episode I (2003), vertical cardboard and red painted planes
border a central one where orbs suspend above floating top-like forms, one of
which is a cutout image depicting a swan. The circular cutout images of swans
and ballerinas in Schlinke's work are actually photo details taken from former
works. Together with the top motif, they refer to the artist's experience as a
dancer and articulate a relationship between movement and rest as well as
past and present. Schlinke states, "My vocabulary arises from a somatic basis
as much as from a purely visual one, reflecting those forces at work in the body,
in painting, and in life."
Exhibited in galleries in Houston and San Francisco, at the Dallas Visual Art
Center and the Contemporary Art Center of Fort Worth, Schlinke's work was
also in New American Talent: The Sixteenth Exhibition, organized by Arthouse
(formerly the Texas Fine Arts Association). Schlinke received a BA and MA in
Dance at the University of Wisconsin, Madison. She lives and works in Austin.
--------------------------------------------------------------------------------------------------------
Reviewed by Erin Keever in "In the Galleries Austin"
full text at: http://www.inthegalleries.com/
d berman gallery presents another accomplished show juxtaposing the work
of Sandra Fiedorek and Naomi Schlinke. The work of these two artists looks
beautiful together in a formal sense, repeating organic circular shapes set
within the rectilinear (Schlinke) versus square (Fiedorek) formats. Their work
is equally challenging and difficult to decipher. Fortunately for the viewer,
the similarities end there...
Naomi Schlinke's works on paper contain visual references to her own interests.
Combining a variety of media such as charcoal, corrugated cardboard, paint
and photography, she incorporates decisions about space, dimension, texture
and line, creating very personal, symbolic and mysterious imagery.
Many of her works in this exhibition are divided into two or three planes. For
example in Antique Episode I (2003), vertical cardboard and red painted planes
border a central one where orbs suspend above floating top-like forms, one of
which is a cutout image depicting a swan. The circular cutout images of swans
and ballerinas in Schlinke's work are actually photo details taken from former
works. Together with the top motif, they refer to the artist's experience as a
dancer and articulate a relationship between movement and rest as well as
past and present. Schlinke states, "My vocabulary arises from a somatic basis
as much as from a purely visual one, reflecting those forces at work in the body,
in painting, and in life."
Exhibited in galleries in Houston and San Francisco, at the Dallas Visual Art
Center and the Contemporary Art Center of Fort Worth, Schlinke's work was
also in New American Talent: The Sixteenth Exhibition, organized by Arthouse
(formerly the Texas Fine Arts Association). Schlinke received a BA and MA in
Dance at the University of Wisconsin, Madison. She lives and works in Austin.
--------------------------------------------------------------------------------------------------------
May 18, 2000
"Bioforms" at dberman gallery
Reviewed by Jeanne Claire van Ryzin in the American-Statesman
full text at: http://www.dbermangallery.com/
Nature at its most imaginative. Or maybe, nature re-imagined and re-examined in
unlikely and delightfully improbable ways.
That's the common thread running through the art of Pam Johnson, Janet Kastner
and Naomi Schlinke in "Bioforms," a jewel of an exhibit now on view at D. Berman
Gallery.
In essence, each artist could be linked with the grand tradition of nature painting
(nature art, really) -- that eternal fascination artists have with the form, beauty and
wonder of the natural world and from which comes everything from still lifes to
landscapes to nudes to botanical studies...
Austin painter Schlinke plays with motion in oil paintings, riffing off her background
in dance. Again, there are the strangely familiar and yet unfamiliar forms. In
Schlinke's canvases, they seem to float in and out of richly colored backgrounds
like objects in water or like the lush, swirling movement of clouds. At first glance,
Schlinke's paintings seem calm. But they're actually not -- they vibrate with subtle
movement. Take "Afterimage," with its large expanse of green floating with
amorphous shapes. Schlinke gives the shapes a sense of motion by adding slight
shadows to their outlines, as if the movement of these strange forms was caught
in the moment, out of focus with all the resulting ambiguity.
Ambiguity and uncertainty indeed. For though we increasingly have new and better
means to observe nature -- from satellite to microscopic photography -- it retains
much mystery and elusiveness. And that's something Johnson, Kastner and
Schlinke artistically imagine for us in a most engaging way.
--------------------------------------------------------------------------------------------------------------
Reviewed by Jeanne Claire van Ryzin in the American-Statesman
full text at: http://www.dbermangallery.com/
Nature at its most imaginative. Or maybe, nature re-imagined and re-examined in
unlikely and delightfully improbable ways.
That's the common thread running through the art of Pam Johnson, Janet Kastner
and Naomi Schlinke in "Bioforms," a jewel of an exhibit now on view at D. Berman
Gallery.
In essence, each artist could be linked with the grand tradition of nature painting
(nature art, really) -- that eternal fascination artists have with the form, beauty and
wonder of the natural world and from which comes everything from still lifes to
landscapes to nudes to botanical studies...
Austin painter Schlinke plays with motion in oil paintings, riffing off her background
in dance. Again, there are the strangely familiar and yet unfamiliar forms. In
Schlinke's canvases, they seem to float in and out of richly colored backgrounds
like objects in water or like the lush, swirling movement of clouds. At first glance,
Schlinke's paintings seem calm. But they're actually not -- they vibrate with subtle
movement. Take "Afterimage," with its large expanse of green floating with
amorphous shapes. Schlinke gives the shapes a sense of motion by adding slight
shadows to their outlines, as if the movement of these strange forms was caught
in the moment, out of focus with all the resulting ambiguity.
Ambiguity and uncertainty indeed. For though we increasingly have new and better
means to observe nature -- from satellite to microscopic photography -- it retains
much mystery and elusiveness. And that's something Johnson, Kastner and
Schlinke artistically imagine for us in a most engaging way.
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