Portfolio
Royal Pain 1, Gold Leaf on Soft Cup, Purple Wrapper on Paper, 12''x16'', 2018
Royal Pain 2, Gold Leaf on Soft Cup, Purple Wrapper on Paper, 12''x16'', 2018
Royal Pain 3, Gold Leaf on Soft Cup, Purple Wrapper on Paper, 12''x16'', 2018
Royal Pain 4, Gold Leaf on Soft Cup, Purple Wrapper on Paper, 12''x16'', 2018
Royal Pain 5, Gold Leaf on Soft Cup, Purple Wrapper on Paper, 12''x16'', 2018
Day 1, Gold Leaf on Soft Cup, Purple Wrapper on Paper, 12''x16'', 2018
Day 2, Gold Leaf on Soft Cup, Purple Wrapper on Paper, 12''x16'', 2018
Day 3, Gold Leaf on Soft Cup, Purple Wrapper on Paper, 12''x16'', 2018
Day 4, Gold Leaf on Soft Cup, Purple Wrapper on Paper, 12''x16'', 2018
Day 5, Gold Leaf on Soft Cup, Purple Wrapper on Paper, 12''x16'', 2018
Re(d)cycle, Gold Leaf on Used Tampons, 22''x22'', 2018
Luxury Tax, Gold Leaf on Used Tampons, 9''x9'', 2018
Red Dip, Oil Paint on Used Tampon, Gold Leaf on Paper, 12''x16'', 2018
Red Dipped In Gold, Gold Leaf on Two Tampons, Acrylic Paint on Paper, 16''x 20'', 2018
In Between, Gold Leaf on Soft Cup between Two Nails, 2''x3½'' , 2018
Menarche’s Tres, Artist’s Menstrual blood, Gold Leaf and Ink on wooden panels, 3.8”8x 3.88”x.93", 2018
Lighter Days, Artist’s Menstrual blood, Gold Leaf and Ink on golden edged paper 5.30”x 4.7”, 2018
Breast Shirt, Artist's breast on white tee shirt, dimensions varies, 2017
Challenging the social taboo over women’s nipples by publicly wearing a tee shirt with a printed image of one’s breasts in order to desexualize and normalize women’s nipples as shirtless men became normalized during the last 1930. The act of wearing the shirt in public settings transforms the pieces into a social interactive artwork by allowing the viewer to come up and question or challenge the ideology that women’s breast/nipples are just the same as men’s. By collecting feedback based on viewer’s comments and/or overall reactions to the piece, allows me as artist to experience where we are as a society when it comes to women’s breasts being “exposed”.
For Breast Shirt inquiry please contact artist
photo credit: jctdigital
Mosaic Nips and Mosaic Tits, photo documentation of two printed Mosaic Pixelated version of Breasts Shirt, Size Small, 2018
Pixelated Breast Shirt (Crystal Tits), Photo Documentation of a printed crystallize pixelated verses of Breasts Shirt, Size Small, 2018
Breast Dress, Photo documentation of artist wearing own breasts on American Appeal White 100% Cotton Fine Jersey T-Shirt Dress, size small, 2018
Breast Dress (Summer Edition),Photo documentation of artist wearing own breasts on American Appeal White 100% Cotton Fine Jersey Racerback Mini Dress, Size Small, 2018
#Censorship, Screenshots of Instagram Post and Guidelines Violation, Digital Media, Dimension Varies, 2018
#Censorship NO.2 , Screenshots of Instagram Post and Guidelines Violation, Digital Media, Dimension Varies, 2018
#Censorship NO.3 , Screenshots of Instagram Post and Guidelines Violation, Digital Media, Dimension Varies, 2018
Nip Sticks, Vinyl Nipple Sticker, USA, 2017-on going
Splinter series of Breast Shirt "Nipsticks" is an on going series of nipple stickers posted in different cities around the United States tackling the issue revolving women's nipples in society.
Upper Left: Miami Beach, Fl Upper Right: Chicago, IL Lower Left: Philadelphia, PA Lower right: New York, NY
Lopsided, Collage of nipples stickers, 4"x 4", 2018
Duckling Displacement, Rubber Ducks, latex paint, 10x10x3.5", 2016
As the refugee crisis continues the piece expresses the meaning of a displaced person in a lighter point of view. Ducking Displacement uses the classic bath duck to relate to the viewer in a recognizable way that places the viewer in the position of the ducks. By “misplacing” a yellow and purple duck from each panel breaks the continuous sequence of the same color duck adding a point of focus. It creates a metaphor for a displaced human in the sense that although the ducklings are in the wrong pond, they are still a rubber duck.
The bright bold colors pop out drawing attention to the displaced duck. But the dynamic of the placement of the objects adds contracts but using complimentary colors to create a balanced flow letting the eyes jump around between panels.
Five Individuals, Orange traffic cones, 11'x27"x42", 2016
Video Documentation of the live performance piece, 2016
Dateline gallery is pleased to announce the exhibition Plus Two, a live collaborative performance art project as visual interpretation of quantum entanglement, featuring simultaneous opening receptions at dual spaces in Denver. At Phillipe J. Steele Gallery Ruiz will perform, Plus Two, as part of RMCAD’s 2016 Spring Graduation Exhibition. Using remote security technology, the performance will be simultaneously cross-projected onto Anderson’s performance at Dateline and then back onto Ruiz at Phillipe J. Steele- creating a reverberation and possibilities for collision in space.
The performance work, Plus Two, came about through a process of mentoring and is Ruiz’ thesis project that progressed through studio visits to a collaboration with Anderson. The artists also offer a selection of their related drawings and sculptures at Dateline. Anderson took on the sawhorse form for a wall sculpture while Ruiz focuses on the entanglement of the plush red strings. These objects were identified by the artists in parallel to quantum entanglement as requiring at least two components for functionality.
“Scientific knowledge about general relativity asks us to suspend disbelief and reconsider that some thing is happening right before our eyes, but is too small for us to see. Quantum mechanics governs the universe of the small but just like its vast counterpart its complexity astounds. One aspect of quantum mechanics that seems to baffle the science community is a physical phenomenon called quantum entanglement. The phenomenon occurs when two or more particles share some sort of link of information that allows for the actions of one particle to simultaneously, faster than the speed of light, change the state of the other participle. What is even weirder is that the particles will act accordingly to the other but opposite; meaning if Particle A spins at 100mph clockwise then Particle B will spin at 100mph counterclockwise.
What drew the piece into performance art was the relationship between quantum entanglement and human interactions and communication, seeing how two people interpret the same information with and without pre-existing knowledge brings into questions how particles behave." -Dayana Ruiz
Theresa Anderson recently completed a two-year residency as a resource artist at Redline Denver. Her work centers around ritual versus commodity, conflict, and/ or, oppositional categories, and recitations on agency and inadequacy. Anderson exhibits nationally and internationally at such venues as the 2013 and 2015 Biennial of the Americas, Boulder Museum of Contemporary Art, Denver Art Museum, Soo Visual Art Center in Minneapolis, Pirate Contemporary Art, Gray Contemporary in Houston, and was included in the exhibition, Thief Among Thieves, at the MCA Denver.
Photo Courtesy: Philip J. Steele Gallery
Photo Courtesy: Philip J. Steele Gallery
Red, White, Wood, Red yarn, square dowel, white nails, Dimensions Varies, 2016
Transparent In Red, Oil on Plexiglas, and wood,18x27x11, 2016
When addressing women’s history you cannot help but notice, when it comes to marriage, the woman has always been screwed. A traditional marriage meant the wife becomes the husband’s property, taking his last name becoming Ms. John Smith no longer being her own person but another one of his personal belongings. Take the idea of the nuclear family of the 1950’s. The husband is the head of the house, has a career and goes home to enjoy a hot meal made by his wife. The ideal 1950’s woman career path was becoming a housewife almost being made completely invisible to society.
Although, women gained more opportunities in most western countries there is still a long way to go in non-western ones. But that doesn’t mean that feminism should be completely abandoned in the US where maternity/pertinacity leave is one of the lowest around the world and women sometimes even lose their jobs when they become pregnant.
With women’s history being pushed aside, bring up a good point as to why there hasn’t been any great women artist. Many women artist find it hard to continue their practice once they start having children, trying to balance two full time jobs. In my live performance piece, “I Do”, the frustration of past injustice along with the challenges women still face today after tying the knot are the driving force behind the piece. Using white tulle to symbolize the lost of identity that is foreshadowed by the veil that covers the bride’s face only to be revealed by the groom. As I stand bare behind 9 layers of tulle on a white wall, I quietly stand while the viewer, both male and female, take turns nailing me to the wall, trapping me almost trying to blend me into the wall, becoming invisible and yet being the center of attention.
Knowing that all women do not feel the same way toward this idea that marriage being the end but just the beginning and had the opportunity to have successful careers alongside being a parent, it’s evident that getting married and having kids can be a career drawback. And while the domestic role of a woman has been an archetype throughout the world it does not define every woman.
Contact artist to view video documentation.
Requests can be denied.
“I Do”, Artist, 9 layers of white tulle, white hammer, white nails, instructions and audience participation, Dimensions varies, 2015
Waterbears in Space, Plastic Tardigrades, functioning vacuum, dimensions varies, 2015
Untitled (Self-Portrait), Print from The Joy of Sex, crayons and audience participation, Dimensions varies, 2015
Residuum, Artists’ Hair, Cat Hair, Fibers, Tulle, Marijuana and ashes on lint roller, 7’x67’x1’, 2015
Photo Credit to Tya Alisa Anthony
Retrato de Caridad (Grandmother's Portrait), Gold leaf on wooden panel, perfume(scent), audio recording, purple sleeping gown, 2018
BBxWW and WWxBB, Tulle, T-pins, dowel Wood, 6x6x5in, 2015
This series explores the notion of color theory, I was inspired after reading Interaction of Color by artist Josef Albers and wanted to recreate some of his literature into visual art. I began to study optical color mixing which is a phenomenon that happens when the eye blends 2 or more colors creating a new color as a result of the colors being positioned next to or on top of each other.
The idea to cross optical color mixing and the Punnet Squares diagram used by biologist to predict the outcome of a breeding experiment came to mind when seeing how Tulle fabric is able to create this illusion of optical color mixing by simply overlapping different color fabric. By using yellow, red and blue tulle I was able to create the secondary and tertiary colors. I admired the vibrant aesthetic that the tulle holds, and how it compares to how colorful biology is. Throughout this series I refined the amount of materials used in order to create consistency throughout my body of work in which allows me to create more from less.
BBxYY, Tulle, wooden dowel and T-pins, 6 by 6 inches, 2015
RRxBB, Tulle, wooden dowel and T-pins, 6 by 6 in 2015
YYxRR, Tulle, wooden dowel and T-pins, 6 by 6 in, 2015
BBbbxYYyy, Tulle, T-pins, Wood dowel, 2ft by 2ft 2015
Color Theory: Orange, Green, Purple , Tulle, T-pin, Wood Dowel, 2015
Yellow to Blue, Tulle and nails, 4ft, 2015
Light Intensity 50/50: White, Tulle, T-pins and wood, 12x6x5in, 2015
Light Intensity 50/50 : Blue, Tulle, T-pins, Wood dowel, Wood, 2015
Color Square ,Tulle and T-pins, 5ft by 5ft, 2015
Optical Mixing, Tulle and Wire, 2 ft by 6ft 2015
Brown on Brown, self, tulle and large nails, 2015
Human Summary, Half-Ton Compressed Cardboard, 4ft by 5ft, 2015
Gravity/Time, Working Clocks , 2015
Whiteout, Mixed Media, 3x5in., 2014
Photo taken by Philip J. Steele Gallery
Prime, Mylar, lights and acrylic sheet, 4x13x3ft , 2014
Girl In the Round, Oil on Plexiglas, wooden frame, 30x13x2in, 2015
Resting Mother, Oil on Polyester Film, 20x40in, 2013
(Installed outside a window)
Abuela Cubana, oil on canvas, 32 by 48 in, 2013
Aging Father, Oil on Canvas 24 by 36 in, 2013
Untitled, Oil on Plexiglas, 11 by 14 in. each, 2013
Grandma 2- Mixed Media, 12x12x2in, 2013
Judgment,sharpies on Plexiglas in wooden box,20x26x2in, 2013
