As a disabled scholar and artist, my work is shaped by my lived experiences of disability and chronic illness, including concepts of crip time, (in)visibility, “better,” and acceptance.
Collage
One way disability, chronic illness, and art practice come together for me in in making collage papers. Working with a variety of techniques, I can engage in art practice even on somewhat lower energy days. The processes I use reveal value and beauty in what might otherwise be perceived of as flawed or ruined. For instance, using National Geographic pages (published after 2000), I dissolve and 'ruin' images and text with Citrasolv, in turn, producing smeared, scraped, and pockmarked textures. I use liquid water colors on wet paper, creating deliberately imperfect texture and patterns with stencils, washers, salt, and found objects; by cutting across these patterns, I bring my attention to the moment or experience, rather than the image itself. I have begun exploring LEGO printing, appreciating the ways such perfectly-manufactured objects can create surprisingly organic, imperfect textures. My collage process also accommodates my fluctuating energy, as I can work in stages, taking photographs as breadcrumbs that guide me back when I have to pause.
Intersect I, 2025
Liquid watercolor papers, alcohol ink on Dura-Lar or vellum, citrasolved National Geographic pages on cradled board
12 x 12
The Big I. A pseudo bird's eye view of a highway intersection revealing the noise of the unseen. The "Intersect" series asks, What would we see, if we made the invisible, visible? Traces of repeated traverses, the multiplicity of emotional experiences across individuals and encounters in space create noise and depth.
Intersect II, 2025
Liquid watercolor papers, alcohol ink on Dura-Lar or vellum, citrasolved National Geographic pages on cradled board
12 x 12
North of Denver. A pseudo bird's eye view of a highway intersection revealing the noise of the unseen. The "Intersect" series asks, What would we see, if we made the invisible, visible? Traces of repeated traverses, the multiplicity of emotional experiences across individuals and encounters in space create noise and depth.
Intersect III, 2025
Liquid watercolor papers, alcohol ink on Dura-Lar or vellum, citrasolved National Geographic pages on cradled board
12 x 12
Tucson. A pseudo bird's eye view of a highway intersection revealing the noise of the unseen. The "Intersect" series asks, What would we see, if we made the invisible, visible? Traces of repeated traverses, the multiplicity of emotional experiences across individuals and encounters in space create noise and depth.
Intersect III, 2025
Liquid watercolor papers, alcohol ink on Dura-Lar or vellum, citrasolved National Geographic pages on cradled board
6 x 6
Milpitas. A pseudo bird's eye view of a highway intersection revealing the noise of the unseen. The "Intersect" series asks, What would we see, if we made the invisible, visible? Traces of repeated traverses, the multiplicity of emotional experiences across individuals and encounters in space create noise and depth.
Liquid watercolor papers, alcohol ink on Dura-Lar or vellum, citrasolved National Geographic pages on cradled board
6 x 6
Milpitas. A pseudo bird's eye view of a highway intersection revealing the noise of the unseen. The "Intersect" series asks, What would we see, if we made the invisible, visible? Traces of repeated traverses, the multiplicity of emotional experiences across individuals and encounters in space create noise and depth.
Acrylic Paintings
Prior to becoming disabled, I painted with acrylic on larger canvases. I commonly took an intuitive approach with rapid, sweeping gestures. I find working a large canvas to be out of reach now, causing fatigue and putting me at risk of fainting.
Persist, 2022
Acrylic on Canvas
10 x 20
Amidst concerns about returning to campus during the pandemic, I turned to intuitive painting.
Approaching the Fall Semester, 2022
Acrylic on Canvas
24 x 30
In response to an email about returning to campus during the pandemic, I turned to intuitive painting.
Minding the mending, 2021
Acrylic on Canvas
12 x 36
Following the Jan 6 insurrection, I used intuitive painting to express my concerns about the adequacy of consequences for those involved.
Textile Design
I conducted a study of mid-century modern fabrics, especially backcloth, because I was not satisfied with the modern reproductions, which were too clean and perfect, compared to the nubby texture and typically offset colors of authentic—but fragile—1950s fabrics. I created several textile designs using Adobe Illustrator, printed them on Spoonflower.com, and then sewed them into curtains. These are decorative; they reflect ways that I have sought to teach myself. You can visit my Spoonflower store to see additional designs here: https://www.spoonflower.com/profiles/vsvihla
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Gate Keep, 2020
Digital / Textile
Daily Collage Practice
In January 2024, I began a daily art practice that gradually shifted into a daily collage practice. As I developed my practice, I spent time exploring different approaches, leading to several series. You can explore these series, as well as a sample of collages from my daily practice, below.
Face Off |
Go Feral! |
Air Heads |
TMS |