new ceramic works, labeled soon, welcome to my archive...
Catherine Fairbanks Works

Catherine Fairbanks Works

Catherine Fairbanks Works

Catherine Fairbanks Works

Catherine Fairbanks Works

Catherine Fairbanks Works

Catherine Fairbanks Works

Catherine Fairbanks Works High fire ceramic, mortar, paper, matte medium, gouache
Hothouse
2018
High fire ceramic, mortar, paper, matte medium, gouache
16" x 13" x 13"
Catherine Fairbanks Works High fire ceramic, mortar, paper, matte medium, gouache
Hothouse, second view
2018
High fire ceramic, mortar, paper, matte medium, gouache
16" x 13" x 13"
Catherine Fairbanks Works High fire ceramic, paper, matte medium, gouache
From Drawings
2018
High fire ceramic, paper, matte medium, gouache
15" x 14" x 14"
Catherine Fairbanks Works High fire ceramic, paper, matte medium, gouache
From Drawings, second view
2018
High fire ceramic, paper, matte medium, gouache
15" x 14" x 14"
Catherine Fairbanks Works
exhibition, Entangled Matter, curated by Kavior Moon, Garden, Los Angeles
2019

image thanks to Marten Elder
Catherine Fairbanks Works
exhibition, Entangled Matter, curated by Kavior Moon, Garden, Los Angeles
2019

image thanks to Marten Elder
Catherine Fairbanks Works High fire ceramic
To Silas
2018
High fire ceramic
16" x 15.5" x 15.5"
Catherine Fairbanks Works
To Silas, detail
2018
Catherine Fairbanks Works High fire ceramic, paper, matte medium, gouache
Dylan in Duplicate
2018-2019
High fire ceramic, paper, matte medium, gouache
16" x 15" x 15"
Catherine Fairbanks Works
Dylan in Duplicate, second view
2018-2019
Catherine Fairbanks Works High fire ceramic
Clay Tablet (triangle)
2017
High fire ceramic
13" x 9" x 1"
Catherine Fairbanks Works High fire ceramic, mortar, pigment, gouache
Tile collage, 4
2017
High fire ceramic, mortar, pigment, gouache
20.5" x 13" x 1 3/4"
Catherine Fairbanks Works High fire ceramic, mortar, gouache
Tile Collage, 3
2017
High fire ceramic, mortar, gouache
19.5" x 17" x 4"
Catherine Fairbanks Works High fire ceramic, mortar, pigment, gouache
No Hands Queen Coin
2017
High fire ceramic, mortar, pigment, gouache
20" x 19" x 1.5"
Catherine Fairbanks Works
No Hands Queen Coin, side view
20" x 19" x 1.5"
Catherine Fairbanks Works
Installation at Gallery1993
2017

Image thanks to Seymour Max Polatin
Catherine Fairbanks Works High fire ceramic
The Coin in the Tree
2019
High fire ceramic
15" diameter, 0.5" depth of clay
Catherine Fairbanks Works High fire ceramic
Queen Coin
2017
High fire ceramic
16" x 14" x 0.5"

image thanks to Seymour Max Polatin
Learning About Dance Through Clay
2016
video
4:32
Catherine Fairbanks Works Framed posters
How Does Sylvette Work?
2015
Framed posters
24" x 36"

This work is a bolted-together set of posters, the top one by Laura Boles Faw, titled 'Towards a Prosthetic Power', the bottom one by me, titled 'How Does Sylvette Work?'. In many of our works together two separately made, solo-authored objects are bolted together, or shown abutted together to create a final work.
Catherine Fairbanks Works Photographs
untitled (from Adobe bookstore performance)
2014
Photographs
16" x 24"

These works were made collaboratively with Laura Boles Faw, and continue the practice of making work by pairing works together. These images derive from a performance work from 2009 in which Laura Boles Faw and I worked spontaneously in the side by side store front windows of Adobe Bookstore in San Francisco. We agreed to make installations from materials we did not reveal to the other person ahead of time.

The instruction we agreed on prior to the performance was that we would each bring 1 suitcase full of material to the bookstore, that we would wear wigs, that we could incorporate any available books from the bookstore, and that we would work for the hour by dividing into 10-minute increments. We switched windows every 10 minutes, thereby building from and reworking the progress of the previous 10 minutes. A timer kept us on pace, and after 60 minutes we exited the windows and the works were done.

From the images taken of the installation and the process of making, these two photographs were printed and serve as windows themselves into the process of that performance and its resulting constructions.
Catherine Fairbanks Works Photograph
Willa, 1
2016
Photograph
14" x 22"

My earliest, childhood ceramic work was photographed on the Willa Cather Memorial Prairie not far from my childhood hometown.
Catherine Fairbanks Works Photograph
Willa, 2
2018
Photograph
14" x 22"

My earliest, childhood ceramic work was photographed on the Willa Cather Memorial Prairie not far from my childhood hometown.
Catherine Fairbanks Works Archival Rives paper and papier mache
Sylvette with David
2016
Archival Rives paper and papier mache
25 1/2" x 39 1/2" x 1/2" (framed: 31" x 44 3/4" x 1")
Catherine Fairbanks Works Archival Rives paper and papier mache
Sylvette with Lamp
2016
Archival Rives paper and papier mache
25 1/2" x 39 1/2" x 1/2" (framed: 31" x 44 3/4" x 1")
Catherine Fairbanks Works Archival Rives paper and papier mache
Pitcher with Harpy
2016
Archival Rives paper and papier mache
25 1/2" x 39 1/2" x 1/2" (framed: 31" x 44 3/4" x 1")
Catherine Fairbanks Works Archival Rives paper and papier mache
Lamp with Aquamanile
2016
Archival Rives paper and papier mache
25 1/2" x 39 1/2" x 1/2" (framed: 31" x 44 3/4" x 1")
Catherine Fairbanks Works Cotton, dye and Icelandic horseshoe mordant
Luce's Fireplace 6
2014
Cotton, dye and Icelandic horseshoe mordant
102" x 52" x 1"
Catherine Fairbanks Works Wool, dye, wood, and Icelandic horseshoe mordant
Luce's Fireplace 1
2014
Wool, dye, wood, and Icelandic horseshoe mordant
145" x 84" x 10"
Catherine Fairbanks Works Cotton, dye, wood, and Icelandic horseshoe mordant
Luce's Fireplace 4, Empathomimesis, National Textile Institute, Iceland
2014
Cotton, dye, wood, and Icelandic horseshoe mordant
140" x 75" x 10"
Catherine Fairbanks Works Cotton, dye and Icelandic horseshoe mordant
Luce's Fireplace 7
2014
Cotton, dye and Icelandic horseshoe mordant
115" x 55" x 1"
Catherine Fairbanks Works Icelandic horsetail hair and hand dyed thread, mounted on archival linen
Luce's Fireplace 10 and Luce's Fireplace 12
2014-2016
Icelandic horsetail hair and hand dyed thread, mounted on archival linen
27" x 18 1/2" x 1" (left), 32" x 17 1/4" x 1" (right)
Catherine Fairbanks Works photograph
Marina and David
2014
photograph
22" x 16"
Catherine Fairbanks Works High fire ceramic tile, backer board, mortar, grout, wood, casters
Chimney Sculpture, 1 and Chimney Sculpture, 2
2014-2015
High fire ceramic tile, backer board, mortar, grout, wood, casters
Chimney Sculpture 1: 84" x 80" x 36", and Chimney Sculpture 2: 84" x 36" x 36"
Catherine Fairbanks Works Papier mache, no armature
Chimney Sculpture, 4, installed
2015-2016
Papier mache, no armature
80" x 57" x 31"

image thanks to Naomi Wilding
Catherine Fairbanks Works Papier mache, no armature
Chimney Sculpture, 3
2015
Papier mache, no armature
92" x 62" x 36"

image thanks to Naomi Wilding
Catherine Fairbanks Works Papier mache, no armature
Chimney Sculpture, 5
2016
Papier mache, no armature
54" x 28" x 28"

Image thanks to Eve Fowler, Artist Curated Projects
Catherine Fairbanks Works Papier mache, no armature, gouache, and polyacrylic protectant
Finding Pitchers, 1
2016
Papier mache, no armature, gouache, and polyacrylic protectant
49" x 38"x 2"

These wall sculptures are created by mapping out drawings from my handmade book of drawings, Pitchers 2015. The shapes were modeled using paper mache as a substitute for ceramic. There are 8 works in this series.
Catherine Fairbanks Works Papier mache, no armature, gouache, and polyacrylic protectant
Finding Pitchers, 2
2016
Papier mache, no armature, gouache, and polyacrylic protectant
42" x 26" x 2"

These wall sculptures are created by mapping out drawings from my handmade book of drawings, Pitchers 2015. The shapes were modeled using paper mache as a substitute for ceramic. There are 8 works in this series.
Catherine Fairbanks Works Papier mache, no armature, gouache, and polyacrylic protectant
detail of Finding Pitchers, 2
2016
Papier mache, no armature, gouache, and polyacrylic protectant
42" x 26" x 2"
Catherine Fairbanks Works Digital image mounted on dibond, behind plexiglass, under framed in walnut, and artists easel
Ceramics/z
2013
Digital image mounted on dibond, behind plexiglass, under framed in walnut, and artists easel
79" x 40" x 40"

Produced with Sarah Workneh for 'Do It' by Hans Ulrich Obrist in Socrates Sculpture Park.
Catherine Fairbanks Works
Pitcher Sculpture, 5, second view
15 3/4" x 9 1/2" x 4 1/2"
Catherine Fairbanks Works High fire ceramic, papier mache, gouache and polyacrylic protectant
Pitcher Sculpture, 5
2015
High fire ceramic, papier mache, gouache and polyacrylic protectant
15 3/4" x 9 1/2" x 4 1/2"
Catherine Fairbanks Works High fire ceramic, papier mache, gouache and polyacrylic protectant
Pitcher Scupture, 4
2015
High fire ceramic, papier mache, gouache and polyacrylic protectant
15 3/4" x 9 1/2" x 5 1/2"
Catherine Fairbanks Works Raku fired ceramic, papier mache, gouache
Pitcher Sculpture, 1
2004,2015
Raku fired ceramic, papier mache, gouache
11" x 9" x 5"
Catherine Fairbanks Works
Installed at [2nd floor projects], San Francisco
2015
Catherine Fairbanks Works High fire ceramic, papier mache, gouache and polyacrylic protectant
Pitcher Sculpture, 2
2004, 2015
High fire ceramic, papier mache, gouache and polyacrylic protectant
17" x 16" x 10"
Catherine Fairbanks Works High fire ceramic, papier mache, gouache and polyacrylic protectant
Pitcher Sculpture, 3
2004, 2015
High fire ceramic, papier mache, gouache and polyacrylic protectant
21" x 13" x 11"
Catherine Fairbanks Works High fire ceramic, papier mache, gouache
untitled
2015
High fire ceramic, papier mache, gouache
21" x 11" x 11"
Catherine Fairbanks Works High fire ceramic, papier mache, gouache
untitled
2015
High fire ceramic, papier mache, gouache
22" x 16" x 12"
Catherine Fairbanks Works Paper mache, no armature
untitled
2012
Paper mache, no armature

Image thanks to Carly Gaebe.
Catherine Fairbanks Works book
Agency
2011-2013
book
12" x 12", 22 pages

A set of notes written anonymously by a long-time patient of mine, were kept by me after she left the hospital. I rephotographed them many years later. The images were composed into a book titled Agency.

The hospital is a complex machine requiring a particular radical empathy.

Thank you, Gregory Vershbow, for your help in taking the images in 2011.
Catherine Fairbanks Works 800 lbs. fresh snow brought to a summer performance festival
Snow as Ceramics
2013
800 lbs. fresh snow brought to a summer performance festival
800 lbs. snow, 5 hours

Like clay, the minute one starts working with snow there is less of it. The largest volume of material exists before you begin to sculpt or model.
Catherine Fairbanks Works Photograph mounted on dibond, behind plexiglass
Face
2012
Photograph mounted on dibond, behind plexiglass
20" x 13" x 1.5"
Transference is a Tough Row to Hoe
2011
video
6:15

Thanks to Katrina Umber, Alwyn O'Brien, and Haig Aivazian for their help.
Vignettes of Thereness
2011-2013
HD video
27:26
Catherine Fairbanks Works Video stills from performance
As Watching Makes
2011
Video stills from performance
3 hours

Collaboration with Alwyn O'Brien
As Watching Makes
2011
Short video clips from performance
3 hours

Collaboration with Alywn O'Brien
Catherine Fairbanks Works studio visits
Mother Daughter, Doctor Nurse
2011-ongoing
studio visits

Mother/Daughter studio visits with these artists

2011: Haig Aivazian (Beirut, Lebanon), Kyla Chevrier (NY), Maria Walker (NY), Ken Nurenberg (Cincinnati), 2012: Katrina Umber (LA), John Seal (LA)
2013: Jacqueline Gordon (LA)
2014: Ryan Slugget (LA)
2016: Erik Benjamins (LA)
2018: Jesse Robinson (LA)
2019: Brian Taylor (LA), Rose Schlossberg (LA)
Catherine Fairbanks Works Hammers, wood, bandaids, chair, and adhesive
untitled (for Dad)
2010
Hammers, wood, bandaids, chair, and adhesive
60" x 48" x 40"
Catherine Fairbanks Works Hand blown glass
You Cannot See Yourself: A Woman with Her Hair in Her Eyes
2010
Hand blown glass
11" x 8" x 9"
Catherine Fairbanks Works Digital print on habotai silk
The Bridge
2010
Digital print on habotai silk
40" x 36" x 4"

Thank you to Kija Lucas for the help in taking these images in 2010.
The Story of the Stick
2011
Performance
3 hours

In this performance, audience members sat with me, both of us blindfolded and listening to an identical sound piece on a loop through headphones, for as long as the audience member wanted to. I remained there listening and blindfolded for the duration of the 3 hours.
Catherine Fairbanks Works digital image printed on habotai silk
The Difference Between the Reflection in My Iris and Looking Out From Me
2010
digital image printed on habotai silk
80" x 40" x 4"

The reflection of the Golden Gate Bridge in my iris

Thank you to Kija Lucas for the help in taking these images in 2010.
Catherine Fairbanks Works Thread, sleeping bag, ceramic, wood
Donald and Phyllis Will Never Meet
2010
Thread, sleeping bag, ceramic, wood
80" x 75" x 20"
Distant to the Person but Close to the Bridge
2010
Site specific sculpture, solo audio work 10:03, each chartered boat trip, round trip roughly 20:00
The work could be accessed throughout a 3 hour period, but the duration of each trip in the boat out to the specified place in the Bay and back to the Ferry building was 20 minutes.

The work as whole was authored in collaboration with Laura Boles Faw, with whom I have made many collaborative works on boats in and around the San Francisco Bay from 2009-current. The bridge and its changing appearance as a sculpture, once you are in the water, under it, and moving around it, was an interest in our work from the beginning.

This work was created for our thesis exhibition from the San Francisco Art Institute, which was held at the Ferry Building on the Bay. People learned about the work through a caller who directed them to a shuttle which took them as a discrete group to a nearby public dock where they could board the boat. The work operated as a site of transformation: people who boarded the boat and experienced the work together would return to the Ferry Building as a group having experienced a durational work outside of the exhibition together.

Once the boat reached a specified position in the water, in relation to the bridge, my solo audio work began to play. The audio work is a description of my relationship to the Golden Gate Bridge, for which my Great Uncle Charles Clarahan, was a major contributing mathemetician and engineer. In the sound work which played on board, we are asked to decide how responsible we are for each other as strangers, and how responsible we are for the actions of our ancestors.

One feature of my long-term collaborative work with Laura Boles Faw has been to make work where solo contributions by one of us is contained within collaborative work. Our collaboration always seeks to open up boundaries of authorship and the boundaries of exhibition-making.
Catherine Fairbanks Works digital images in duplicate
A Matter of Course
2009
digital images in duplicate
72" x 40" x 20" corner installation.

Collaboration with Laura Boles Faw
Catherine Fairbanks Works thread, military sleeping bags
Just a Secular Babe
2010-2011
thread, military sleeping bags
92" x 32" x 32" on plynths
Me As the Ox
2009
performance
variable

Periodically and throughout the exhibition, I would spend time in a harness, pulling this wagon around the gallery and pushing the ceramic and wood sculpture that remained at the front of the sculpture.