Black Glove: Androgynoire

Testimony I


Black Glove: Androgynoire

This piece is about reaching through the body to initiate androgynoire, a conjured Black genderqueer identity. It is about coming into personal power, awakening Voice during a time of transformation. In Androgynoire: Black Glove, “No!” is a complete expression which functions on multiple levels. It is an emotional experience of confusion, fear, and faith. It is in resistance to an old myth about the self, “No, no!”

Androgynoire is a performance interacting with an unreal body that has yet to catch up with the transformation of the spirit and psyche. This work recognizes that there are layers of change, palimpsests of the self. All of which we hope to speak in one resounding voice, but which harbor newly examined, newly released or newly noticed selves in times of transformation.

An experience of iterative clarification, this work is about reaching beyond the rigidity of complete self-knowledge in awakenings to gendered selves. The character tests the reality, receptivity and malleability of their body even as they lean into faith “en route” to the “No!” of self-assertion. “No” and “Faith” are boundaried refrains, even as the character surrenders to the open-endedness of their layer-by-layer transformation.

Testimony 1

This is an expository piece done in partnership with JEI (Justice & Empowerment Initiative), part of the Nigerian Slum/Informal Settlement Federation. Elders of the Otodo Gbame, an indigenous community of Lagos, share the harrowing experience of being violently displaced from their land, severed from their generations-long ways of life and livelihood. The Otodo Gbame through this violence have been separated from their children, and forced to live in inhumane conditions in the slums of Lagos. Their displacement is due to aggression from a monied, ethnic royal family, the Elegushi, and the wider political and economic context of an aspirational Lagos. This Lagos yearns to command international attention and investments as the economic and cultural destination of West Africa. This Lagos disperses the indigenous poor, commandeering their land to construct sprawling developments – symbols of the city’s efforts to be seen among the international set of glittering metropoles.

‘Testimony’ is defined as ‘a formal written or spoken statement saying what you know to be true, usually in court.’ The Otodo Gbame are survivors speaking their truth in the court of human conscience, calling on international bystanders, like myself, to act.

Testimonies from the lips of the Otodo endure the process of a once- and twice- related story, morphing and changing. While this work aims to retain the potency of the testimonies, the video highlights the piecemeal nature of spoken truth pushed through the sieve of translation: collaged images, sound, and layered text, all elements which introduce distance between the original storyteller/testifier and the artist/audience. The entire work is a translation, acquiring its own poetics and thickening the film of understanding.


My mind had been consumed with the implications of current technological development which, under various guises, can be lacking humanity, sensitivity, and insight. As we engineer high-tech tools, perhaps, too, we engineer (dehumanize, weaponize) ourselves. I hoped to contain a quiet duality in the builder: engaged in manual craft work, sharing a certain understanding of tools (technology). The builder embodies humanity, from time immemorial and into a not-yet-rendered future, as fashioner and fashioned.

Sometimes, “humans don’t make good tools”, sometimes we’re “not thinking.” We are still in the age of human as capital, begun with the transatlantic slave trade, and continuing in the version of capitalism we live in today. Perhaps the global environmental and socioeconomic consequences of modern capitalism are indicative of how we aren’t “thinking” (reasoning, sensing, being wise) while making tools of people. Acknowledging the violent belief that Black feminine sexuality is something to be shaped and possessed, joyous, embodied dancers also exist in flagrant juxtaposition to the transformation of people into anthropomorphic objects (tools).

Tools and technologies need empathetic human touch to be effectively useful for non-harmful human ends. If social systems are technologies which produce tools, we proved capable of making tools of ourselves and each other on spectra of harm and agency. What kinds of tools are high-harm, high-agency and what are their purposes? Does a tool exist that is low-harm, low-agency, and what is its purpose?

This quasi-didactic flipbook masticates on the depth of our lack. A lack that persists despite the seeming value or “bountiful” prospects of humanity’s creations. I roll between teeth and gums how observable violence is fed by the less visible background of ignorant intention. Sense and sensitivity are accomplices and essential elements of any good tool/technology. Together “the crumb and the meal.”

DPNY is trained as an urban planner and spends their time creating DIY-style video and sonic performances made with open-source software. They employ an autobiographical approach to investigating friction between internal and collective selves, and social and political pathologies. Their work circles the poetics of psychological survival and the tight spaces of self-scrutiny and transformation in response to these universal experiences.

Al Wong


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Artist’s Statement


My work is a visual expression of the interconnectedness of perceived opposites. For the past 50+ years, my work has involved the use of negative and positive space, light, and transparency. I have always been fascinated with the ways in which light and shape are both presence and absence. Past bodies of work bring the foreground and the background planes of the sculpture or installation into one interconnected space.

In essence, my work demonstrates such relationships as light and dark, negative and positive, and emptiness and solidity. These relationships seem to imply difference at first glance, but because they are entirely interdependent, they reflect our interdependent existence. This implies that there is a deeper harmony in our environment that we may often overlook. My approach to art has always been to reveal life’s true nature in the everyday.

Al Wong is a native San Franciscan and has spent the past 50+ years making art in a variety of media. He has shown at exhibition venues such as the New York Museum of Modern Art, the Whitney Museum of American Art, the San Francisco Museum of Modern Art and the UC Berkeley Museum & Pacific Film Archive. His work has toured nationally and internationally including Europe, South America and Japan. In addition, he has received several awards and honors including an NEA Grant in 1983, a Guggenheim Fellowship in 1986, and a Flintridge Foundation Visual Artist Award in 1997.

Janis Butler Holm & Gina Osterloh

Apples and Bananas

Artists’ Statements
Gina Osterloh: Through the simple gesture of trying to grasp, “Apples and Bananas” is a play on the futility of gender categories, critiquing the absurdity of our gendered expectations. The video is a response to Richard Serra’s 3-minute 30-second film “Hand Catching Lead” (1968), which has a grasping hand–in profile, palm facing camera–repeatedly missing, catching, dropping a piece of scrap lead.
Janis Butler Holm: Gina Osterloh’s “Apples and Bananas” brought home to me that what we perceive to be natural–so natural that we readily consume it–is in fact a weighted ideology, designed to reinforce dominant binaries even as we fail to align with them.
Gina Osterloh’s photography, video, and performance art address symbolic themes and formal elements such as the void, the orifice, and the grid–and encourage a heightened awareness of color, repetitive pattern, and repeated actions. Osterloh’s work is represented by Silverlens (Manila) and Higher Pictures (New York).
Janis Butler Holm has served as Associate Editor for Wide Angle, the film journal, and currently works as a writer and editor in sunny Los Angeles. Her prose, poems, and performance pieces have appeared in small-press, national, and international magazines, including Posit. Her plays have been produced in the U.S., Canada, and the U.K.
Bassist/composer/producer Joël Dilley’s original music is heard in TV, film, web, and ambient settings worldwide, including HBO, Discovery Channel, Food Network, and more. His website is www.joeldilley.com.
Award-winning songwriter Bett Butler’s poetry and short fiction have appeared in Weave, Feathertale, Voices de la Luna, Amp, and Fabula Argentea. Her website is www.bettbutler.com.


Jeanne Jaffe

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Artist’s Statement
Inspired by an interest in anthropology, mythology, and psychology, my work explores how identity is forged from early pre-verbal experience through the later influences of language and culture.

In my earlier sculpture, I give concrete form to intangible sensations and barely remembered bodily experiences. This is accomplished by creating hybrid forms of mixed origins of experience – fusions of animate and inanimate worlds, simultaneously familiar yet strange. Body fragments, vegetative processes, and microscopic life fuse, mutate, and morph, and the resulting objects invite recognition while remaining mutable, suggestive, and indeterminate. Visceral experiences of longing, repulsion, fear, loss, curiosity, and discovery are elicited.

In my more recent installations such as “Little Red Riding Hood as a Crime Scene,” “Elegy for Tesla,” and “T.S. Eliot’s Four Quartets,” popular folktales, history, and literature are reimagined through a contemporary lens and made into multi-sensory environments. In these installations, sculpture, videos, interactive elements, and animation create a space for exploring the implications of these known narratives and for reimagining new perspectives.

Most recently I am working on a stop motion animation, “Alice in Dystopia,” a retelling of Lewis Carroll’s Alice in Wonderland. In this version, Alice and the Rabbit fall down the wrong rabbit hole into the contemporary world of 2020, with all of its environmental and societal ills, where the characters must find a way to confront the current crises and offer hope for renewal and change.

In all of my work different signifying systems of image, motion, language, and sound intertwine, highlighting and allowing us to reexamine different aspects of our internal and external experiences, the stories we have been told, and the assumptions we have internalized.

How we navigate multi layered experience, where signification and understanding is being endlessly reshaped, and how we create meaning and self-determination from the cacophony of sensation, memory, myth, and cultural history is the subject of all my work.

Jeanne Jaffe is a multi-disciplinary artist and a frequent visiting artist at Xian Academy of Fine Arts in China who lives in Florida with her husband and parrot Lilly. She is the recipient of grants from the Gottlieb Foundation, Pennsylvania Council on the Arts, NEA, Virginia Groot Foundation, and Mid Atlantic/NEA, among others. Her work has been exhibited at the Pennsylvania Academy of Fine Art Museum, Delaware Art Museum, Michener Art Museum, Royal Scottish Academy of Edinburgh, Seokdang Museum of Art in Korea, and elsewhere. Reviews of her work have appeared in Art in America, The New York Times, and Sculpture Magazine.

Joanna Fuhrman


Poem with Missing Line

Did you mean to wake up with your nerves
dangling like sneakers from suburban trees?

Have you ever walked inside a mattress and found
a queen-sized bed frame inside? Do you enjoy igniting

brick houses with your eyebrows? Do you recognize
the kind of silence where everyone looks naked

even when they are wearing a floor length
coverup or a burkini? Have you ever shaken hands

with the bodhisattva of bitterness? Did his hand
feel like the skin of a pomegranate? Or its seeds?

Are you able to eat these days? Are you able
to stop eating? If we sing the Star-Spangled Banner

backwards while watching the Warriors, does
Coney Island become our new national capital?

Did you mean to punch me in the smoked kipper?
The wardrobe? The nightingale? Do you prefer kale chips

or woodchippers? Is your ceramic frog floatable?
How many more punches until we can untether

the fireflies? Do you enjoy the way I dangle
my earlobe in your microwaved Bolognese?

If so, when will you start loving me with a little
less than 1000 percent of that wound?

In the Matrix Starring Nicolas Cage

Neo is a piss-ass drunk, and it doesn’t matter if alcohol is only an idea. Meaning detaches from language and flies in slow motion like a shampoo commercial. The absent women shift behind the curtains, a mother’s face camouflaged by a William Morris floral, a sister’s breath hidden by the smell of an off-season fireplace. The 21st century is riding a bloodshot Ferrari into the mouth of climate change, and it needs pure vodka to make it okay. Nic is naked all the time. Even naked, he sweats through his clothes. Even when he’s fully dressed his dick swings unsheathed. You try lassoing the sky’s panopticon with only a goddamned body part. He knows the world isn’t real, so why not just buy a big-ass blowup doll? Why not just wear your rubber Donald Trump mask to crowded theatre and flail your octopi limbs at the screen?


Joanna Fuhrman is the author of five books of poetry, including The Year of Yellow Butterflies (Hanging Loose Press, 2015) and Pageant (Alice James Books, 2009). Her poems have appeared in numerous journals, including The Believer, Conduit, Fence, New American Writing, and Volt as well as in various anthologies, including The Pushcart Prize 2011 and 365 Poems for Every Occasion (Abrams, 2015). Her poetry videos appear in Requited Journal, Fence Digital, Triquarterly and Moving Poems and are forthcoming in Atticus Review and Battery Journal.

Tanya Marcuse

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Artist’s Statement


The ancient Greeks imagined the machinery of fate as three women, weaving the lives of human and gods into an enormous tapestry, killing or giving life by snipping or knotting a thread. Through the medium of photography, in my new series Woven, I imagine myself introducing time and thus mortality, into the lush flora and fauna which make up the millefleurs backgrounds of medieval hunting and falconry tapestries. The 5 x 10 foot photographs sometimes take weeks to compose, and during this process of composition, of collecting, arranging, burning, painting, and transplanting, there is change. Flowers wither, spiders build webs, new shoots emerge, and corpses decay. Influenced both by the Dutch vanitas tradition and the allover graphic compositions of Jackson Pollock, I intend the photographs to be experienced as exquisitely detailed still lives when viewed from up close, but to hold together as a immersive, more abstract composition from further away. Although the pieces are all made on the same wooden frame and printed at the same scale, each photograph incorporates a distinct set of conceptual and visual ideas. Some are densely packed with rotting plant and animal life, and others more open, sprinkled with small brightly colored flowers or verdant moss. What is common to all, however, is a sense of opulence which verges on excess, a plenty which verges on plunder. In these elaborately artificial tableaux, the inexorable movements of nature are shown forth and growth and decay, beauty and terror, life and death are woven together.

Tanya Marcuse is an American photographer whose work explores transience among other ideas. Her work is in the collections of the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, the George Eastman House, the Yale Art Gallery and the National Gallery of Art in Washington DC. She studied Art History and Studio Art at Oberlin and earned her MFA from Yale. She has been awarded a Guggenheim fellowship, and has published three books with Nazraeli Press, Undergarments and Armor (2005), Fruitless (2007) and Wax Bodies (2012). She’s currently working on a book of Fruitless/Fallen/Woven with Radius Press. Her work is represented by the Julie Saul Gallery in New York City. She lives and works in the Hudson Valley and teaches Photography at Bard College.

Brandon Graving

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Artist’s Statement

My work has a natural immediacy, like a snapshot, capturing the chemical reaction of liquid inks as they are pushed into paper with a press, or sculptures that move with ambient air currents around them, interacting with the viewer.

I am interested in new realms within the field of unique prints via innovative technique and scale. The deeply embossed prints begin with an elaborately textured matrix consisting of natural forms, including aerial views of landscapes. I love the sensitivity of a wet piece of paper which perfectly records the wild and varied objects and inks, allowing saturation deep into it — or thick, reticulated ink poised on its surface, translating the moment the chemistry is caught and transfixed into this sculptural monoprint. The visceral quality of large scale prints offers a highly textured physicality only possible with the specialized equipment we have built for this purpose.

After years of bronze casting, my interest in paper has turned to casting trees with paper. Using crepe myrtle trees felled during hurricane Katrina, I form the spines of these sculptures with archival abaca paper over the trunks and branches, with the help of a structural steel armature. Comprising a series called Wonder, these sculptures are finished with individually torn translucent vellum tendrils. Some have drops of crystal at their extremities, which hold points of light, and defy gravity, like beads of water traveling along strawberry leaves. While these appear fragile, the abaca paper is incredibly durable, adding to the work’s conceptual information. With close inspection, the surface reveals the individual placement of fingertip-like pieces of abaca, forming a complex, textured surface. The kinetic aspect of these works allows them to exist in space, as we do. Animated by the viewer’s ambient air movements, they become directly involved with their audience, while producing a dance of shadows.

My work attempts to elicit an experience rather than recording or depicting an object or place; ideally, communicating aspects of being human, as I continue to grapple with that complexity.

Brandon Graving is a sculptor and printmaker, best know for her large-scale monoprint/sculpture installations. Graving’s 10.5 foot by 32 foot Ephemera: River with Flowers is the largest monoprint ever made by a single artist, and was on view at the New Orleans Museum of Art when the city was hit by Hurricane Katrina. Purchased by the Frederick R. Weismann Collection, this work has recently been exhibited in more than a dozen museums nationally. Graving’s work is in numerous private and public collections including the New Orleans Museum of Art. Her many grants and awards include the Pollock-Krasner Foundation Award. A few years ago, she consolidated her print studios to found Gravity Press Experimental Print Shop, and has been working for the past four years on woodcut prints with S. Hannock and Sting which will open at the Metropolitan Museum in January, 2018.

Pierre St-Jacques

The Exploration of Dead Ends


Artist’s Statement

A few years ago I would have said that my work was about structure, or more specifically about how one
constructed one’s world. Over time this has changed to a more simple and basic premise for my work. I
want to explore these little daily moments that we all experience, these glances or gestures, in which
there is a connection made with another. In these moments a small door opens up into a large new world
that, if only for a second, makes us glimpse as what it means to be human.

Pierre St-Jacques has shown his work at Artist’s Space in New York, at Gallerie Joella in Finland, and more recently at the DiVA and Scope art fairs in New York, at the Directors Lounge in Berlin, the Bronx Museum of Art in New York and, Real Artways in Connecticut. Via Slideluck Potshow he has been able to exhibit his work internationally in such venues as the Wexner Center for Contemporary Art in Columbus Ohio, as well as other venues in London, Copenhagen, Milan, and many others. He traveled to Beijing in 2009 to shoot “Traveling between Spring and Fall.” Since then he’s worked concurrently on “Yes” and “Make Believe,” two projects completed in 2011. He recently finished a series of five shorts entitled “A Gathering of Shifts” and presented a six-channel video installation entitled “The Explorations of Dead Ends” at Station Independent Projects in November 2014. Find out more at pierrestjacques.com.

Editors’ Notes (Posit 8)


Welcome, readers and viewers! We’re delighted to ring out the end of 2015 with the extraordinary poetry and prose we’ve gathered for this issue of Posit. It’s an honor to publish such a rich mixture of innovative verse, short fiction, and poetic prose by literary masters at all stages of their careers, to wit:

Doug Bolling’s Scalapino-esque “…words carried from a valley a stream a mountain / just to be there cherished, fondled” by gorgeous metaphors creating “a poem of unknowns / a Magritte refusing all margins;”

Susan Charkes’ wry compendia on Practicing Panic (“adopt aroma of freshly cut cucumber” and “elude infinity”) and Unreachable Planets such as the PLANET OF CONSTANT DOWNDRAFTS (“Gravity: not an issue”);

Norma Cole’s ferociously beautiful narrative fragments of a fraught nation kept together and apart by the ‘Surface Tension’ of an iconography of sentiment and violence, in which golden angels and grandchildren eating butterscotch sundaes give way to women sleeping on sidewalks, Halloween “or some / other masks beheading,” and “the mortars again;”

Christine Hamm’s magnetically surreal texts, in which “You said the antlers in the bucket were part of you, asked me if you should burn your necklace, the one with someone else’s name;”

Zeke Jarvis’s masterful short story about art, artifice, and free enterprise, Las Vegas style;

Halvard Johnson’s disturbing ode to The Art of Deference with its haunting last line, complemented by the resonant compression of 14 Interventions, in which “poem grenades,” like “old leaves,” “turn to / reservoirs of life;”

Carlos Lara’s virtuosic excerpt from Several Night, a “monologue of another destroyer” “ready for whatever’s next play” and populated by “numinous projectile clouds” as well as “music looping the dream archer of dreams;”

Anna Leahy’s “exacting forms” “pregnant / with possibility of motion” mirroring the beauty and menace of nature as well as “the spark of brazen imagination;”

Christina Mengert’s mind-meld with Spinoza, yielding remarkable hybrid philosophical/poetic ‘Definitions’ “by virtue of mental trampoline, / bouncing into idea as a consequence / of grace” via a collaborative “intelligence / conceived through something / more itself / than itself;”

Carol Shillibeer’s magnificent “loyalties to worlds, words and their pleasures…” posing the question, “What work has there ever been but perception?”

Danielle Susi’s brilliant juxtapositions, in which “Volume sleeps on my tongue today / because teeth can sometimes look / like pillows,” provoking us to wonder “When two sides of an abrasion stitch / back together, what do they say?”

and Derek Updegraff’s haunting and suggestive story Café, “about him and her. That’s all” although it somehow manages, in 350 words, to open itself to the far reaches of the universe.

As always, thank you for reading.

—Susan Lewis and Bernd Sauermann


It is my pleasure to introduce another wonderful selection of painting, photography, sculpture, and video in this issue of Posit.

Meryl Meisler has been taking photos since she was a teenager, chronicling her youth in Long Island and young adulthood in NYC in the 70’s and 80’s. Her keen eye has captured moments that are funny, moving, and offer wonderful portraits of an era.

Helena Starcevic’s carved and fabricated sculptures reflect a distinctly modernist sensibility. Cool and stripped down to their essence, these are elegant objects. Working with a restrained palette, she conveys the beauty of the form, using the contrast between matte and shiny surfaces to allow light to caress the contours of her sculptures.

The haunting videos of Pierre St. Jacques delve deep into the psychological realm of human relationships. The Exploration of Dead Ends, from which we present an excerpt, as well as still photographs and video installations, is a beautiful portrait of a man caught in the endless cycles of his life. The result is visually stunning and deeply moving.

The sweeping gesture of Heather Wilcoxon’s hand can be seen in all of her energetic and evocative paintings. Strong and committed markings typify these works. Human and animal forms live harmoniously amidst swirls of color and form in compositions dreamily reminiscent of a life lived near the sea.

The sumi ink drawings of Katarina Wong are bold, thrilling and often a bit frightening. She brings us face to face with an Inferno of emotions that swirl and whirl across the page. Recognizable human and animal features emerge and then sink into the energetic darkness.

I hope you enjoy!

—Melissa Stern

Tim Tate

Maybe She Dreams Of Rivers

18 x 24 x 4
Cast Glass, Video

Tim Tate_Maybe She Dreams Of Rivers


Bellows Interrupted

18 x 24 x 4
Wood, Video

Tim Tate.Bellows In Black Frame

The Debut

18 x 14 x 3
Cast PolyVitro, Glass, Video

Tim Tate.The Debut Poly

She Goes Walking After Midnight

18 x 14 x 2
Cast Glass, Video

Tim Tate.Walking After Midnight

On The Calm Black Waters Where The Stars Are Sleeping

18 x 24 x 4
Cast Polyvitro, Video

Tim Tate.On the calm black water where the stars are sleeping

The Healing Polyopticon

Cast PolyVitro, Glass, Video

Tim Tate.Healing Polyopticon
This 5 ft wide installation consists of 16 video pieces in varying sizes of cast black frames. Each video is in the form of an eye blinking; each eye different. There is a glass lens covering each video, making it appear as an an eye. Surrounding this cluster of 16 video frames are cast black roses and chrysanthemums which loosely fills out the 5ft wide circle . Black roses for memory, chrysanthemums for eternal life.

30 years ago, I received a terminal diagnosis. To keep my sanity and health, I imagined then that there were portals from above, each with someone who would watch over me to keep me safe. These were people that I had known and who had touched my life in some way.

Family members, old friends, a beloved teacher, my old camp counselor….people who had effected my life in a positive way. They would guard over me… keeping me from passing over, making me safe; imbuing me with self healing energy.

This is the first chance I have had to ever had to make a physical representation of this healing manifestation. Anyone who steps in front of it can imagine their own loved ones watching over them. I believe that anyone standing in front of this will feel that healing energy emanating from this work. Come stand in front of it and see for yourself.

Artist’s Statement

I see my pieces as self-contained video installations. Blending a traditional craft with new media technology gives me the framework in which I fit my artistic narrative. Contemporary, yet with the aesthetic of Victorian techno-fetishism. Revelation — and in some cases self-revelation — is the underlying theme of my electronic reliquaries and baroque cast frames.

My interactive pieces can be seen as disturbing because the images that stare back from the video screen prompts a variety of responses: amusement, discomfort, embarrassment, something akin to the feeling you have when someone catches you looking at your own reflection in a store window as you walk by.

But the important revelations here are in the viewer’s response to my hybrid art form and its conceptual nature. I try to bare everything — the guts of my materials and my inner thoughts — in deceptively simple narrative videos set into specimen jars or ultra-Victorian cast glass picture frames. Nothing is random, all elements are thought out.

To me, these works are phylacteries of sorts, the transparent reliquaries in which bits of saints’ bones or hair — relics — are displayed. In many cultures and religions, relics are believed to have healing powers. My relics are temporal, sounds and moving images formally enshrined, encapsulating experiences like cultural specimens. And perhaps, to the contemporary soul, they are no less reliquaries than those containing the bones of a saint.

With technology rapidly changing the way we perceive art, the current day contemporary landscape closely mirrors Victorian times in the arts. We marvel at and invent bridges between past and present in an effort to define our time and make sense of this highly transitory moment in artistic history.

Tim Tate is Co-Founder of the Washington Glass School and Studio. Tim’s work is in the permanent collections of a number of museums, including the Smithsonian’s American Art Museum and the Mint Museum. He was the subject of several articles in American Style, American Craft, and Sculpture magazines, as well as the Washington Post and Times newspaper reviews. He was also the 2010 recipient of the $35,000 Virginia Groot Foundation award for sculpture.

Tim taught in Istanbul in August 2007 and at Penland School on several occasions. In 2009 he received an award from the Museum of American Glass in New Jersey as one of the “Rising Stars of the 21st Century.” He received his Fulbright Award from Sunderland University in England in 2012. He is also the founder of “Glass Secessionism.” Tim shows his work at numerous international art fairs, such as ArtBasel Switzerland, Art Miami, SOFA and Frieze, London. TimTateSculpture.com