Search Site
Featured

Family at Heart of Winterthur

Family has been at the heart of Winterthur’s story since the du Ponts settled here more than 200 years ago.

Today, Winterthur is still about family, with the Enchanted Woods play area enthralling young children for hours and upcoming programs that will entertain and educate family members, young and not-as-young alike. In fact, this fall we’re expanding our family programming on Saturdays, so stay tuned for more on that.

But summer is here, and there is much to do. We have Story Time scheduled for July 6 and 20, and our popular Terrific Tuesdays begin July 4 and continue weekly in July and August from 10 am to 3 pm.

Terrific Tuesdays this year will tell the story of the families who lived, worked, and played at Winterthur for decades before it became the museum, garden, and library that it is today.

Crafts, games, and demonstrations— all inspired by families who called this place home— will introduce history, art, conservation, and storytelling to kids ages 3 to 10 and the adults they bring along.

Winterthur has been home to three generations of the du Pont family, and it was a self-sufficient community where more than 250 people ran a thriving farming operation that included beef and dairy cattle, sheep, pigs, poultry, horses, fruit, and vegetables.

Today we’re going to tell you some stories that were collected in 1973 from Maurice Gilliand, who began in 1944 to serve as a footman to Winterthur Museum founder Henry Francis du Pont (1880–1969). As Gilliand would quickly learn, du Pont was a renowned horticulturist with specific tastes, a love of food, an eye for décor, and a complicated disposition that could be prickly and kind, oftentimes at once.

Gilliand came from France to America in 1930 and he worked in houses on Long Island before coming to Winterthur. Gilliand’s wife, Doris, was hired as a chambermaid, and the couple lived in a small house on the estate.

There were about five footmen and a butler among a staff of 20. After two years, Gilliand was promoted to butler. Gilliand was flattered when du Pont made the offer, although he noted that du Pont warned him at the time that he was demanding and expected perfection. Gilliand nonetheless accepted and went on to learn a lot from du Pont.

“My duties were to set the table, of course, serve the meals, serve the teas, and serve cocktails and all that, and I was the man responsible to Mr. du Pont for the rest of the staff,” Gilliand recalled during an interview that is part of ongoing initiatives to preserve the history of the estate.

Maurice Gilliand prepares for guests

“And you directed the rest of the staff?” the interviewer inquired.

“I must say Mr. du Pont was the head butler,” Gilliand replied.

“Just as he was head gardener,” the interviewer observed. “Was the operation here different in any way from the other houses you had worked in? Was Mr. du Pont special in his approach?”

“Well, yes, much more so because any other house where I worked, the lady was in charge, but here Mr. du Pont was in complete charge of the house and planned everything, planned all the menus, and planned all the table settings,” Gilliand said.

On the weekends, the house would be filled with 16 to 18 house guests, with other visitors present only for meals, making two dozen people for a formal dinner.

On Wednesdays, a gardener would bring flower samples into the house for du Pont and Gilliand to match with china, table mats, and glassware for the dinner.

“Sometimes Mr. du Pont would ask me my opinion and then would say, ‘Maurice, Maurice, you must be color blind!’,” Gilliand remembered. “Now and again, Mr. du Pont would give me a free hand to make a selection. On one occasion when guests entered the dining room, they exclaimed, ‘Oh, Harry, Harry what a beautiful combination,’ and Mr. du Pont replied, ‘Oh yes, I have had this set of china for a long time, and this is the first that I was able to match it successfully.’ As I was standing nearby, he looked at me with the corner of his eye and winked, but he said, ‘I must admit to you it was Maurice who achieved this masterpiece.’ After dinner, Mr. du Pont put his hand on my shoulder and said, ‘Maurice, you have learned your lessons well, you are not color blind any longer.” This shows you that when you knew Mr. du Pont’s likes and dislikes, it did not take much to make him happy.”

The weekend guests arrived on Friday afternoons and were received in Port Royal Hall.

In the hall, it was mandatory for guests to sign the guestbook. Then tea was served in Port Royal Parlor, after which guests were taken to their rooms, Gilliand said.

Port Royal Hall
Port Royal Parlor

The footmen served cocktails at 8 pm in the Chinese Parlor and dinner at 8:30 in the Du Pont Dining Room.

Chinese Parlor
Du Pont Dining Room

“The food was plain, but the best, as it was nearly all produced on Winterthur Farms,” Gilliand recalled.

While the guests were dining, footmen and chambermaids took turns scrambling upstairs to tidy the guests’ bedrooms and put away all their clothes and belongings. They also removed the “good bedspreads” so no one would lie on them. Those bedspreads were just for decoration.

The du Ponts and their guests played bridge after dinner (Mr. du Pont was an expert) in the Chinese Parlor and the Marlboro Room.

Marlboro Room

Footmen served refreshments and sandwiches at 11 pm, and the game would resume until the wee hours of the morning.

Other nearby rooms—the Baltimore Room, Chestertown Room, and Empire Parlor–were never used for entertaining.

Baltimore Room
Empire Parlor

“These rooms were only for show,” Gilliand said. “Guests were never allowed to sit. Mr. du Pont was very strict about that. If he caught any sitting or leaning— No those were not used.”

Chestertown Room

Though the Chestertown Room was referred to as the “breakfast room,” the du Ponts and guests never ate there. They were instead always served breakfast in their bedrooms.

Gilliand said he believed he had only ever made one serious mistake for Mr. du Pont, and it wasn’t leaning on the furniture.

“I’ll never forget it the rest of my life,” Gilliand said.

Du Pont had told Gilliand to telephone a woman and include her on the guest list for an upcoming occasion. Unfortunately, Gilliand misunderstood the name.

“I came back to Mr. du Pont, and I said, ‘Mr. du Pont, Mrs. So-and-So accepts with pleasure,’” Gilliand said. “He said, ‘What lady?’ I said, “Mrs. So-and-So you invited.’ He said, ‘Maurice, damnation, damnation, how could you do such a thing, how could you? I didn’t want that lady for this dinner.’”

At that point, it was up to Gilliand to find a gentleman who could accompany the woman to the dinner. Or, at least, those were Mr. du Pont’s orders.

But Gilliand chose to solve the problem in a more straightforward way: He called her back and admitted his mistake.

He asked the woman if he could tell Mr. du Pont that she had overlooked a scheduling conflict and could not attend. He also asked whether she would keep the matter between herself and Gilliand.

She said, “Oh, don’t worry, Maurice, it won’t go any further.”

Gilliand returned to the study where Mr. du Pont was speaking with someone. Du Pont immediately told Gilliand to enter, as he always did, and the butler explained, “Mrs. So-and-So didn’t realize she had a previous engagement and she will not be able to keep your dinner date.”

Du Pont replied, “Maurice, too bad, too bad, sorry to hear about that.”

Gilliand said he did not know du Pont’s wife, Ruth, very well because she dealt exclusively with the female servants.

But Gilliand did know that she liked to tease her husband by pretending she could not hear him.

“So, he would repeat it and she would say, ‘What did you say, Harry?’ and he would blow his top,” Gilliand said. His wife would laugh and smile.

One time, du Pont yelled at Gilliand for something similar.

Gilliand legitimately did not understand something du Pont was saying, partly because he was speaking while holding a cigarette in his mouth.

After Gilliand twice asked du Pont to repeat himself, du Pont began to yell.

“So, I just walked out very quietly into the pantry and stayed there for a couple of seconds and I walked back and said, ‘Now, sir, what is it you are trying to tell me?’ Very nicely he came and told me what he wanted. After that, he never shouted at me, never.”

Du Pont treated his staff well and worked alongside them, Gilliand said.

During the week, Mr. du Pont would be up at 6 am and have a simple breakfast of “a glass of milk and a glass of orange juice.” He would then receive all the supervisors of the estate in his study to get an update on operations.

On the occasion of a large wedding with several hundred guests at the estate, du Pont threw a party for the staff when the wedding and reception were over.

“He left me enough wine, champagne, and whiskey to share with the staff,” Gilliand said.

Maurice Gilliand

“Mr. du Pont was a very good employer, kept many of his people for a lifetime,” Gilliand said. “He never was too busy to chat, or discuss problems, if any, and help you if he could. To me, he was a friend. I am still grateful for all the knowledge he gave me of American art, and he is missed by many of us.”

You can learn more about life at Winterthur during the upcoming Terrific Tuesdays.

The family that will be featured on the first Terrific Tuesday had roles running Winterthur’s post office, with the father also serving as a chauffeur to Mrs. du Pont.

One of the girls in the family recalls being on the farm with the du Ponts’ daughter, Ruth, and going with her to drink milk “straight from a cow.”

Bottoms up, and see you at Terrific Tuesday!

Cows on Winterthur farm
Featured

Millions of Bulbs?

The upcoming Bank to Bend event on March 9 celebrates the snowdrops on the March Bank, which also features winter aconites, snowflakes, and crocuses—and this year, because of the mild weather we are already seeing daffodils, scilla, and squill popping through the leaf litter. One of the questions that comes up often but that I am always a little hesitant to answer is, “How many bulbs are there in the March Bank?” I always say millions, with my fingers crossed behind my back because, after all, I have not counted them.

I finally decided to resolve this nagging doubt. Using Google Earth, I plotted the area of the March Bank, following the general boundaries of the area that we used for its restoration, but decreased them slightly. I drew a line from the Scroll Garden to the 1750 House, then over to Magnolia Bend, but I excluded the Glade. The area enclosed by this measurement is 6.9 acres, or 300,564 square feet.

Looking at one square foot of the March Bank, I chose an estimate of 10 bulbs per square foot. This number is very conservative—some areas have as many as 40–50 bulbs in a square foot, whereas others have only a few or no bulbs, including the paths and watercourses. So, 10 is probably a fair guess.

Next, I multiplied 300,564 (the number of square feet) by 10 (the average number of bulbs per square foot) and got 3,005,640 bulbs. Even if my assumptions are off by half, it would still be more than a million bulbs. I propose that saying the March Bank has “millions of bulbs” is well within the margin of error.

Please join us on March 9 to see these beautiful bulbs for yourself on a guided or self-guided walk.

Post by Chris Strand, Charles F. Montgomery Director and CEO of Winterthur

Kate Sekules

About the Artist 

New York, New York

Kate Sekules is a mending advocate, activist, educator, and researcher. She is assistant professor of fashion history at Pratt Institute, Brooklyn, and of “Mending Fashion” at Parsons School of Design, and she lectures frequently for institutions and organizations including the Textile Society of America, American Studies Association, Association of Dress Historians, Fashion Institute of Technology, Rhode Island School of Design, and the British Museum. She hosts #MendMarch on Instagram, as well as regular mending groups, and runs MAWG (Mending Archives Working Group) and visiblemending.org a crowdsourced world map. Sekules is the author of MEND! A Refashioning Manual and Manifesto (Penguin, 2020), and her doctoral dissertation is titled “A History and Theory of Mending” (Bard Graduate Center, 2025). Her work in Transformations includes visible mends and an example of her recent work with “punk smocking,” a way to cover stains or tears, or to just mend out the boring!  

Website: VisibleMending.com
Social Media: @VisibleMend

Artist Statement

This sweater is obviously a statemend, but all my mends, or co-designs, are meant to stand out. To me, mending is an artistic intervention, a structural, methodological, even metaphysical interference in the life path of a textile object; its application more choice than chore, since it consumes the luxury of time. This counters the history of the mend. For centuries, or millennia, stitchers, usually women, strove for minimal transformation when addressing—relentlessly, inescapably, thanklessly—the effects of time and wear on personal and household textiles. Patches and darns signaled inaccessibility of replacement goods and announced poverty, causing shame. Today, mass-produced faux-patches and industrially ripped denims signal not poverty but fashion. Textile is disvalued. Hyperproduction in insulting conditions, planned obsolescence, trend-based dressing, brand hegemony, discarding disguised as donation or decluttering—I mend in relationship to all of that, gleefully customizing and conserving—in this case punk smocking—what was made for landfill.  

Bandbox Collective

The Artists

Showing of 8 results
Yoonmi Nam
Yoonmi Nam is an artist born in Seoul, South Korea, and has…

<a href="https://www.winterthur.org/yoonmi-nam/" class="read-more" ><span class="sr-only">Click to read more</span>More Info</a>

Benjamin Bartgis
Ben Bartgis is a conservation technician and independent artist specializing in reproduction…

<a href="https://www.winterthur.org/benjamin-bartgis/" class="read-more" ><span class="sr-only">Click to read more</span>More Info</a>

Judith Solodkin
Judith Solodkin received a master of fine arts degree from Columbia University…

<a href="https://www.winterthur.org/judith-solodkin/" class="read-more" ><span class="sr-only">Click to read more</span>More Info</a>

Katie Commodore
Despite years of her insisting that their daughter was going to be…

<a href="https://www.winterthur.org/katie-commodore/" class="read-more" ><span class="sr-only">Click to read more</span>More Info</a>

Maxime Jean Lefebvre
Maxime Jean Lefebvre is an interdisciplinary artist who works mainly with printmaking…

<a href="https://www.winterthur.org/maxime-jean-lefebvre/" class="read-more" ><span class="sr-only">Click to read more</span>More Info</a>

Julia Samuels
Julia Samuels was born in Portsmouth, New Hampshire, and she earned her…

<a href="https://www.winterthur.org/julia-samuels/" class="read-more" ><span class="sr-only">Click to read more</span>More Info</a>

Amber Heaton
Amber Heaton creates colorful, geometric installations, mixed media works, paintings, and works…

<a href="https://www.winterthur.org/amber-heaton/" class="read-more" ><span class="sr-only">Click to read more</span>More Info</a>

Andrew Raftery
Andrew Raftery is an artist specializing in fictional and autobiographical narratives of…

<a href="https://www.winterthur.org/andrew-raftery/" class="read-more" ><span class="sr-only">Click to read more</span>More Info</a>

Yoonmi Nam

About the Artist 

Lawrence, Kansas

Yoonmi Nam is an artist born in Seoul, South Korea, and has studied in Korea, Canada, the United States, and Japan. Yoonmi is interested in the observation and depiction of everyday objects and occurrences, especially when they subtly suggest contradictions—a perception of time that feels both temporary and lasting and a sense of place that feels both familiar and foreign. Growing up as an only child with working parents, she often engaged in quiet observations of things around her. Experiences of living in disparate cultures with different people and their histories allowed her to notice what often is unobserved in one’s own familiar spaces. She works in traditional printmaking processes such as mokuhanga (Japanese-style water-based woodblock printing) and lithography to make imagery as well as explore other materials such as clay, glass, and paper to make three-dimensional still lifes.

Website: YoonmiNam.com
Social Media: @Yoonmi_Nam

Artist Statement 

Both bandboxes were designed specifically to hold hats that we use for special occasions. A party hat and a stack of origami folded paper hats. So, I’ve also included these two kinds of hats that the bandboxes hold as part of my works. These hats are temporary and disposable. In my work, I am always drawn to objects that suggest a sense of time that seems both fleeting and eternal, so I wanted to make hatboxes for the hats that also speak to that nature. I also designed the pattern on the lithograph that I printed to cover the bandboxes. The flower images and the texts that make the patterns are taken from various plastic bags with flower images on them.

Benjamin Bartgis

About the Artist 

Annapolis, Maryland

Ben Bartgis is a conservation technician and independent artist specializing in reproduction stationery products and bandboxes, based in Annapolis, Maryland. They became interested in historic box making materials and techniques while building custom housings for museum artifacts. Outside of their full-time federal career in conservation, Ben has pursued their study of early American book and paper history through courses at Rare Book School and was a scholar at the 2022 “Revolution in Books” Summer Institute at Florida Atlantic University. Ben’s bandboxes have appeared at historic sites such as the Coggeshall Farm Museum in Bristol, Rhode Island.  

Social Media: @BenjaminBadgers

Artist Statement 

Boxes have been a presence in my conservation career from my first years as a book conservation intern making slipcases and portfolios to my time as a conservation specialist operating a CNC machine to mass produce archival boxes. I find both bookbindings and boxes curious halfway things: sometimes primarily regarded for their ability to store or protect something else, discarded when they wear out; sometimes valued artifacts in and of themselves. I was drawn to researching and reproducing bandboxes because they are made of the same materials as rare books—thread, paper, board, and glue—but as containers, they are collected, curated, and studied completely differently. As the boxmaker for this project whose board forms will be covered up with exquisite papers, my craft as an artisan mirrors my work in conservation: foundational, collaborative, and sometimes hidden in plain sight. 

Judith Solodkin

About the Artist

Bronx, New York

Judith Solodkin received a master of fine arts degree from Columbia University in 1967, has taught art on the college and graduate level, and is teaching lithography, digital embroidery, and soft sculpture at the School of Visual Arts and lithography at Pratt Institute. She also studied millinery at Fashion Institute of Technology and is a member of the Milliners Guild. She was the first woman to graduate from the Tamarind Institute as a Master Lithographer in 1975. Today she is based in Riverdale, Bronx, New York, and operates as a print publisher and contract printer—SOLO Impression, Inc.  Innovative collaborative techniques have been a mainstay of SOLO Impression. Judith continues to collaborate with artists on fine art lithography, embroidery, and fabrication. 

A trailblazing supporter of women in the arts since the mid-1970s, Judith developed an “old girls’ network” with the same rigor and opportunity afforded male artists. In 1996 and 2010, the retrospective The Collaborative Print: Works from SOLO Impression was presented at the National Museum of Women in the Arts in Washington, D.C. In 2013, she received a Printer Emeritus award from the Southern Graphics Council International. Taschen Publishing commissioned three lithographs by Françoise Gilot in 2017, and “Ode à l’oubli,” a collaboration with Louise Bourgeois, was exhibited in An Unfolding Portrait at the Museum of Modern Art in 2018. In November 2020, she was honored by the International Print Center of New York for her printmaking achievements. SOLO Impression exhibits at the International Fine Print Dealers Association Print Fair. Editions by SOLO Impression are in the Museum of Modern Art; The Metropolitan Museum of Art; Whitney Museum of American Art; New York Public Library; Museum of Fine Arts, Boston; Library of Congress, National Gallery of Art; Bibliothèque Nationale de France; and Tate Modern in London.  

Judith is known for her handmade hats, which she proudly wears herself. Hats from SOLO Chapeau were recently shown at the Metropolitan Museum Mezzanine Art Gallery and at the Garment Center’s 38th Street Window during Textile Month, and they have been featured in online exhibitions of the Milliners Guild. 

Website: SoloImpression.com
Social Media: @JudithSolodkin

Artist Statement 

Referencing history has always been a part of my activities, whether at SOLO Impression collaborating with artists in fine art lithography, in digital embroidery, or in creating hats under the SOLO Chapeau label. Teaching at the School of Visual Arts and Pratt Institute is a catalyst to expose students to precedent and to past knowledge and early hand-manipulated techniques. These skills are vital in the collaborative process with artists, directing them forward to the future. For example, in my print “Whitfield Lovell,” I appropriated an early wallpaper design in his twin lithographs, “Barbados and Georgia” (2009) and combined it with stone lithography and inkjet printing. And I embroidered a restoration fabric from an 1860 motif that was used as the upholstery on a chair showing at the Brooklyn Museum as part of Modern Gothic: The Inventive Furniture of Kimbel and Cabus, 1863–82. 

I continue to be fascinated by early tools that when mastered in the present can yield new results. Old presses, rollers, stones for lithography and head blocks and forming tools for millinery can be updated with new technologies for surprising effects. My new fabric inkjet printer allows me to print images on cloth and subsequently to embroider the results, as I did with the banner of Judy Chicago, “What If Women Ruled the World?”  

Katie Commodore

About the Artist 

Providence, Rhode Island

Despite years of her insisting that their daughter was going to be an astronaut, Katie Commodore’s parents could have told you that she would grow up to be an artist—even as they sent her to Space Camp, twice. Never giving up her dreams of painting Martian landscapes and testing low gravity pastels, she attended Maryland Institute College of Art, which, not surprisingly, lacked the rigorous science background NASA required. After graduating, she spent time abroad in Paris, Prague, Greece, plus a short stint in Las Vegas. She returned to school, earning her master of fine arts degree in printmaking from Rhode Island School of Design, where, as well as at Clark University (Worcester, Mass.) she is now an adjunct faculty member. Katie now resides in Providence. 

Website: KatieCommodore.com
Social Media: @KatieCommodore

Artist Statement

I always wanted an octagon house, there is something magical about them. They are at the top of my homeowning bucket list. But currently, it’s just a dream. So, instead, I thought about creating an octagon-shaped hope box. The interior is lined with pieces of a roll of original wallpaper I found in the attic of a Victorian that I owned, The George Jepherson House. Originally, it was supposed to represent my present, now it stands for my recent past, pain, failure, and success. A dream realized but cut short. The exterior is made up of several “5D Diamond Painting” kits—sort of modern versions of paint-by-number art. I imagine a young girl today putting together a hope chest and decorating it to match her room. She would use a modern, cool crafts kit that she got from Michael’s™. She’d spend days working on it, and it would make her so proud to show off. I spent days sticking down thousands of rhinestones, meditating on my hopes for the future. Not just the hopes of an octagon house, but for financial stability, calm, time, and breath. I hoped for my life and happiness back. It may not be a chest of my future linens and household needs for my future married life—I’ve already gotten all those things. This is a box of just plain hopes.  

The second box is papered with the patterned backgrounds from several of my prints. The figure, a friend named Julia, seems to be waiting for something to start—a party, a date to arrive, something exciting. She’s all dressed up and waiting to go. . . somewhere. Again, it’s full of hope. The hope that today will be worth getting dressed up for, the hope that you don’t get stood up, the hope that it’s all going to be fun, the hope that this book is worth reading.  

Two boxes of hope. When you open them, one smells of the crumbing past and the other is the blank of the future; both are filled with only air and dreams.  

Maxime Jean Lefebvre

About the Artist

Providence, Rhode Island

Maxime Jean Lefebvre is an interdisciplinary artist who works mainly with printmaking and ceramics. His work explores the tension between histories, stories, and systems of power and is informed by his personal experiences as a foreigner in America.   

Born and raised in France, Maxime has been living in the United States since 2017 in Providence, Rhode Island. He holds a master of fine arts degree in printmaking from the Rhode Island School of Design and a diplôme national d’arts plastiques (bachelor of fine arts degree) from the École Nationale Supérieure d’Art de Bourges. 

Website: MaximeJeanLefebvre.com
Social Media: @MaximeJeanLefebvre

Artist Statement

I was surprised to learn that many Americans are still obsessed with Napoléon and the heroic tales that surround his tumultuous life. Was it his rapid ascension to power? The self-coronation? The comeback to Paris from Elba Island? Or perhaps Elon Musk is more fascinated with his profound disdain for democracy, his systematic oppression of political opponents, and the vertiginous death tolls his campaigns inflicted.  

An Escape? is a box for Napoléon’s last tricorn, the one he wore while looking at the waves crashing on the shore of Saint-Helena, wondering if he could have a fresh start in the New World.  

Easy Targets is a hatbox made for a standard Advanced Combat Helmet issued by the American military. The military in the United States is structured as a fascinating blend of authoritarian hierarchy and a social welfare state. The only way a lot of Americans can access good, affordable healthcare, tax-free housing allowance, and generous tuition aid is through enlisting and accepting the ultimate trade-off. The basic structure of many developed countries is used as bait and has progressively become one of the last remaining bastions for the middle class, where service members don’t go broke due to a medical bill. 

Julia Samuels

About the Artist

Providence, Rhode Island 

Julia Samuels was born in Portsmouth, New Hampshire, and she earned her bachelor of fine arts degree in printmaking from Pratt Institute in 2007. In Brooklyn, she participated in founding the Gowanus Studio Space, providing a community gathering point and accessible studio spaces to artists, as well as 596 Acres, which helps residents navigate earning legal access to public lands in their neighborhoods. Samuels earned her master of fine arts degree in printmaking from Rhode Island School of Design in 2015, after which she founded Overpass Projects, a fine art print publisher committed to innovating contemporary printmaking techniques as well as amplifying underrepresented voices. At Overpass Projects, Samuels publishes her own work as well as collaborative editions that have been acquired by several collections, including the National Gallery of Art, Library of Congress, Los Angeles County Museum of Art, and Ford Foundation. 

Websites:

Social Media: @OverpassProjects

Artist Statement 

Intricacy and beauty can be found anywhere, and I see art everywhere I go—at every traffic stop or speeding by on the highway, in the whole built-up world around us, and in every interaction where the natural world is attempting to reclaim its space. Power lines, phone cables, chain-link and barbed wire fences are things we all encounter on a daily basis and most likely do not consider beautiful. I appreciate the challenges these elements bring to the medium of woodcut. Cables and wires silhouetted against a clear sky are elements positively drawn over deep negative space, and in carving I invert this relationship, investing my effort into the areas carved away, the blank spaces. My discipline and care are leaving behind, and untouched, the intention of the original artwork, that fence, cable, tree, or vine that exists in the real world. 

Amber Heaton

About the Artist

Brooklyn, New York

Amber Heaton creates colorful, geometric installations, mixed media works, paintings, and works on paper. She received an master of fine arts degree in printmaking from the Rhode Island School of Design in 2012, a bachelor of fine arts degree from the University of Utah in Printmaking and Sculpture in 2009, and a bachelor of university studies in Human Diversity from the University of Utah in 1998. Her work has been exhibited at The Bronx Museum of the Arts; Children’s Museum of Manhattan; Susquehanna Art Museum; International Print Center New York; Highpoint Center for Printmaking; Musée Des Beaux-Art, Le Locle, Switzerland; and other venues internationally. In 2019, Heaton had solo exhibitions at Cedar Crest College in Allentown, Pennsylvania, and Narrows Center for the Arts in Fall River, Massachusetts. Heaton participated in the AIM Program at the Bronx Museum of the Arts, was a scholar at the Center for Book Arts, New York, and an artist-in-residence at Wassaic Project, New York. She was awarded a Fulbright Fellowship in South Korea from 2001–2003. Heaton lives and works in Brooklyn, New York. 

Website: AmberHeaton.com
Social Media: @AmberHeat

Artist Statement

Like Byzantine architecture and mandala drawings, my work lies in the tradition of creating spaces that embody the sensation of the sacred or mystical. The rhythms of light and time visible in the natural world shape my sense of space and provoke my work. I learn to observe shifting states of balance and harmony from nature. For me, these states are spaces of personal freedom and democracy. In each artwork, I invite the viewer to seek tranquility and equality. 

I create colorful, geometric paintings, mixed media works, installations, and works on paper. I layer transparent washes over wood panels and sculptures to illuminate areas of pattern. I use line to form depth, sometimes adding string, tassels, and hardware to build layers of 3-dimensional space. These elements visually reinforce data points in the systems I formulate. I base these systems on mathematics and data concerning the natural world and our universe. 

With influences from Euclidean diagrams to Minimalism and textile art, I construct patterns with a sense of vibration, establishing a physical relationship to the eye and the body. I play with relationships between the physical and the metaphysical. Using scale, abstraction, and repetition, I devise spatial relationships with psychological tension and release. These psychological spaces give me room to consider human interactions in a visual way, and my geometries become metaphors for those interactions. Compositionally, I want each work to come to a state of equilibrium and to emanate a sense of calm and openness. 

Gregg Moore and Omar Tate

Gregg Moore
Website: GreggFMoore.com
Social Media: @GreggFMoore

Omar Tate
Philadelphia, Pennsylvania
Website: HoneysucklePhl.com
Social Media: @Coltrane215

About the Artist: Gregg Moore

Gregg Moore is an artist, designer, and educator. His studio practice explores the relationship between ceramics and new media, drawing from historical foundations while questioning and investigating perceptions of the ceramic field. His current work ranges from ceramic tableware, mixed media sculpture, and multimedia installation that examines the practices of gardening, farming, cooking, and eating. His professional practice is shaped by collaborations with chefs, scientists, curators, and artists. Moore is professor of Visual and Performing Arts at Arcadia University, where he directs the Ceramics program. 

About the Artist: Omar Tate

Identifying first and foremost as an artist (not a chef) who uses food as one of his many mediums, Omar is a West Philly native who worked for over a decade in acclaimed kitchens across Philadelphia and in New York City before embarking on his own. After experiencing a lack of diversity and representation, both in the kitchen and on the plate, Omar launched Honeysuckle Projects to tell nuanced stories on Blackness in America. You can find Omar’s work featured in The New York Times, Esquire Magazine, Okayplayer, Eater, The Philadelphia Inquirer, and other publications.  

Artists’ Statement

Our project, ˈȯi-stər, builds on our previous collaborations to connect people in conversations about nourishment, community, and Black craft through processes of making, growing, and eating. ˈȯi-stər · ve-səl consists of 100 hand-thrown porcelain jars, hundreds of porcelain oyster shells, a single large-scale water vessel, and a stoneware jar by Thomas Commeraw from the Winterthur museum collection. The project explores histories of taste, cultivation, trauma, and joy and reclaims and reimagines oysters as sources of sustenance, facilitators of memory-keeping, and poetic expressions of identity.