Gina M

Gina M

Contact

I was born in Minnesota and raised in California by a funky and creative family. My mother owned and operated a puppet theater in Norwalk where my family spent many weekends developing shows, building puppets and hosting birthday parties. Art and creativity were a way of life. My anthropomorphic tendencies were obvious for a child nurtured by puppets and their puppeteers, conceived to help cope, comfort, and accept the divorce and divide of my family.

In college, I studied interior design and color theory. As a sideline I attended workshops and received private training in painted trompe l'oeil, faux finish, and decorative wall treatments. This educational background influences all of my art making.

I select materials based on their authenticity to my process. I choose clay because of its fragility, its relationship to the earth, and its tradition in arts and craft. I incorporate recycled materials such as wood and found objects because of their nostalgia and reference to aging, decay and decomposition. Encaustic wax and resins speak to my faux finish experience and love of historic art materials.

Combining assemblage with ceramics fills my current body of work. Trompe l'oeil “fool-the-eye” sculptures are made of high-fired ceramic clay, oxide washes, encaustic paint and found objects. Their homespun construction and textured surfaces simulate threadbare fabric, tattered fur, and the broken button eyes of careworn, faded toys and carnival games. What, from afar, look like innocent fun playthings flopping and tumbling about are revealed, upon closer inspection, to be old toys abandoned by their owners in differing stages of decomposition.

In all my ...

I was born in Minnesota and raised in California by a funky and creative family. My mother owned and operated a puppet theater in Norwalk where my family spent many weekends developing shows, building puppets and hosting birthday parties. Art and creativity were a way of life. My anthropomorphic tendencies were obvious for a child nurtured by puppets and their puppeteers, conceived to help cope, comfort, and accept the divorce and divide of my family.

In college, I studied interior design and color theory. As a sideline I attended workshops and received private training in painted trompe l'oeil, faux finish, and decorative wall treatments. This educational background influences all of my art making.

I select materials based on their authenticity to my process. I choose clay because of its fragility, its relationship to the earth, and its tradition in arts and craft. I incorporate recycled materials such as wood and found objects because of their nostalgia and reference to aging, decay and decomposition. Encaustic wax and resins speak to my faux finish experience and love of historic art materials.

Combining assemblage with ceramics fills my current body of work. Trompe l'oeil “fool-the-eye” sculptures are made of high-fired ceramic clay, oxide washes, encaustic paint and found objects. Their homespun construction and textured surfaces simulate threadbare fabric, tattered fur, and the broken button eyes of careworn, faded toys and carnival games. What, from afar, look like innocent fun playthings flopping and tumbling about are revealed, upon closer inspection, to be old toys abandoned by their owners in differing stages of decomposition.

In all my work there is a whimsy with a dark side. My personal narrative uses innocent childhood imagery like teddy bears, toys, and puppets, to create the reactionary expressions of my inner emotional life. When something happens to me and triggers a buried emotion, a lost sentiment or a hidden pain, I must reconstruct and resurrect it outside of myself and find the story behind it.

Ever After
Ever After
  • 30.5 x 23 x 12 in
No Time To Say...
No Time To Say...
  • 90 x 24 x 16 in
Art of Balance
Art of Balance
  • 14 x 12 x 12 in
Speed Bump
Speed Bump
  • 12 x 6 x 12 in
Melancholy Waters Lie
Melancholy Waters Lie
  • 108 x 96 x 24 in
Growing Pains
Growing Pains
  • 14 x 17 x 18 in
Remember Me
Remember Me
  • 36 x 36 x 36 in
Handle with Care (or) Who Blames the China.
Handle with Care (or) Who Blames the China.
  • 46 x 32 x 47 in
Pile-O-Punks
Pile-O-Punks
  • 18 x 18 x 20 in
A Foolish Game
A Foolish Game
  • 62 x 42 x 18 in
It's Complicated
It's Complicated
  • 18 x 18 x 24 in
La Surprise Finale
La Surprise Finale
  • 19 x 14 x 16 in
Cinnamon Raisin Twist
Cinnamon Raisin Twist
  • 6 x 14 x 7 in
Reluctant Surrender
Reluctant Surrender
  • 18 x 18 x 16 in
No Worse For Wear
No Worse For Wear
  • 14 x 30 x 30 in
My Muse
My Muse
  • 15 x 12 x 12 in
Man's Best Friend (W/Base)
Man's Best Friend (W/Base)
  • 51 x 28 x 21 in
Comedy. Tragedy. Encore.  (Final Act)
Comedy. Tragedy. Encore. (Final Act)
  • 22 x 16 x 16 in
Follow The Leader
Follow The Leader
  • 14 x 36 x 24 in
Wheel of Miss Fortune
Wheel of Miss Fortune
  • 18 x 12 x 12 in
Suspension of Disbelief
Suspension of Disbelief
  • 18 x 18 x 18 in
Sitting Pretty
Sitting Pretty
  • 18 x 28 x 21 in
My Bare Skin
My Bare Skin
  • 60 x 36 x 14 in
Not A Toy
Not A Toy
  • 9 x 12 x 10 in
Under Bare
Under Bare
  • 48 x 12 x 12 in