Bonnie Saland
Asherah No. 6, 2022
Monoprint on digitalized patterning. 17” h X 11” w
Asherah, the early “tree goddess” consort to Yahweh of the Old Testament, was banished from temple worship as Judaism evolved into a patriarchal, monolithic paradigm. This series of prints is part of a body of work and patterning exploring her meaning for contemporary worship.
Bonnie Saland
Twelve Bar Blues, 2020
Hand dyed and printed textile pieces intermingled with digitally produced counterparts, with hand and machine stitching. 40” h x 75” w
A compilation rift of original dyed, hand printed, and digitalized textiles with hand stitch, that articulates fluid movement between platforms, in this case traditional Shibori method and digitalization.
Bonnie Saland
Bojagi Bodacious, 2016
A compilation of traditional Korean fabrics and Bojagi method, and hand waxed and digitally printed textile. Sections are machine stitched with a patched and hand stitch overlay. 24” h x 62” w
The piece is part of an ongoing collaging of personal material and practice with traditional textile method and materials.
Bonnie Saland
Wax, 2016
Hand waxed and digitally reproduced textile. 24” h X 32” w
This series reflects an ongoing interest in incorporating traditional hand methodology (in this case Indonesian batik), with digital process.
Bonnie Saland
Rock Hard, 2016
Mixed media tryptic incorporating xeroxed journal pages, with overlay of paper collage. 23” h x 117” w
This body of work referenced multiple interpretations of “rock hard” from the imagery of gemstones to the challenges in the over culture.
Bonnie Saland
Samplings, 2015
Stitched collage mixing Philomela and Liberty textile with hand embroidered finish. 8” h x 52.5” w
I’ve got a running pieced conversation between Philomela patterning and other favorite textile works/ designers. Liberty of London is a perennial passion.
Bonnie Saland
The Virgin Forest, 2014
Lino Cuts with gouache and Chine collé 48” h x 36” w
The Greek Gods and Goddesses are frequent visitors. Artemis, with her attachment to the woods, animals and a natural surround presented herself simultaneous to my relocating to studio space on the rural Northern California Coastline.
Bonnie Saland
Virgin Forest Chair, 2014
Animal Lino cuts from the Virgin Forest Fine Art print are digitalized into a textile scatter and printed on cotton sateen. 19.5” h x 33.5“ w x 5“ d
My process often includes a fine are work, that then is reference for a textile pattern. Frequently, I then use the pattern as ground for additional imagery.
Bonnie Saland
The Sea Inside, 2012
This is a third generation print that paired a linocut of Medusa over a digitally reproduced pattern from the mixed media piece w/ silkscreen titled “Sea Fruit”. 42” h x 42” w
The piece reflects an ongoing interest in narratives around unarticulated female passion and rage (hence the reference to Medusa), as well as an ongoing inclination to approach process with iterations of thematic schemes.
Bonnie Saland
St. Francis, 2011
Mixed Media w/ etching and accordion construct. 15” h x 111" w
Spirituality is a constant theme in my work, and for many a year I started my day with a meditation from St. Francis. I’ll pull from Christian mysticism, Jewish liturgy, and Buddhist teaching with a life of simplicity and devotion to animals always a standout.
