The Ohio Artist Registry (OAR) is an exciting opportunity for artists to share their work, connect with the creative community, and establish an online presence—all on a free, virtual platform! The OAR encourages artists working in all art forms, throughout Ohio and beyond, to create a profile, which allows them to better promote themselves and their work. Being listed in the OAR provides artists with new opportunities to share their work with clients, galleries, patrons, and audiences. For more information, contact Kathy Signorino, artist programs director, at email@example.com or 614-728-6140.
Clevelad Ohio 44102 United Stateshome Home Phone: 216-533-6928home
Christine Mauersberger is a multi-disciplinary artist in Cleveland, Ohio who produces complex mark-making narratives in multiple media: Prints, paintings, embroidery, and installation works.
Her work is featured in private and public collections and has been exhibited and published internationally.
She has taught and lectured at numerous locations from throughout the USA and Canada, to Switzerland.
She has been the recipient of numerous fellowships and grants, a Creative Workforce Fellowship in Cuyahoga County, Ohio, a Windgate Craft Artist Fellowship, and the Ohio Arts Council Award of Individual Excellence for a second time.
I work primarily—although not exclusively—with textiles and stitching. For me, the process of mark-making, whether stitched, drawn, painted, or printed, is my way of making a physical artifact of the progression of time.
Each stitched or drawn line is deliberate and are lines of conversation between my hand and my brain. They can be considered performative in that the movement of thought is re-enacted in my hands. Hand-stitching and drawing are time-based mediums and therefore traces of mental movement flow onto the substrate of cloth, paper, or found objects onto which I’ve selected to work.
Every mark enable a visual map of thinking with my hand to emerge forth to reach into space and transcend the idea of time; often these marks are structurally map-like therefore I consider my works to take the final form of a personal map.
When I make an installation, the emphasis moves away from intimate intellectual moments into using materials that will relate to my hand stitching but are not derived from the same processes. The materials themselves have an ability to transform from being stiff and flat to actually flowing and responding to air movements in the room. The emphasis is no longer in the minutia, but in the larger immediate visceral effect one receives upon viewing an installation.