billiejunebrand

  • GRADUAL DISORDERING

    Gradual Disordering engages the grid as a contradictory format: one that simultaneously represents empirical order (graphs and maps), and a domestic visual language that rejects a single point of view (weaving). Gradual Disordering exists within this tension; referencing cluttered interior space, non-linear organizations, and repetition as world-building. I layer materials–photos, archival images, and journal pages–into multiple woven, painted, and ceramic abstractions. Nest-like objects perch out of reach, viewed from below. Large-scale grids and paper weavings warp in space, looked at and looked past. With additions and deletions in each iteration, the grid continually changes.

    Exhibited at the Law Warschaw Gallery May 2026 & Koch Gallery April 2026, Saint Paul, MN

    When a Chimney Falls (Left), Dividends of Possibility (Hanging), Nest 81, 82…100 (Wall), After-water: 19 Essays on Stains (Right).
    Law Warschaw Gallery, 2026. 
    When a Chimney Falls (Equally portioned and divided griefs or asbestos) (Outside view). Law Warschaw Gallery, 2026. Chimney bricks, poem book pages, paper pulp, broken kiln shelves, peeling paint, sand, and ash. 
    Dividends of Possibility (Left), Nest 81, 81… 100, After-water: 19 Essays on Stains (Outside View). Law Warschaw Gallery, 2026
    Nest, 81, 82… 100

    Law Warschaw Gallery, 2026. Stoneware (fired surface: gathered egg shells, clay slip from Nebraska, cigarette ash, wood ash, coffee grounds, and borax) also: image transfer, canvas cloth, wool roving, charcoal, iron oxides, cat hair, and hand-spun yarn.

    Dividends of Possibility

    Law Warschaw Gallery, 2026. Journal pages, mulberry paper, graphite, charcoal, ash ink, walnut and oak gall ink, book-binding cord.

    When a Chimney Falls (Equally portioned and divided griefs or asbestos)

    Law Warschaw Gallery, 2026. Chimney bricks, poem book pages, paper pulp, broken kiln shelves, peeling paint, sand, rocks, and ash.

    Weather, Whether not Damage

    Law Warschaw Gallery, 2026. Oil pastel, bookbinding cord, sticks, oil paint, archival photo, walnut ink, salvaged wood, cat hair, felt blanket, vellum, graphite, and wool roving.

    Order-lay: Keep Your Body Flat “Too the Wall”

    Law Warschaw Gallery, 2026. Moving blanket, journal pages, book-binding cord, pencil, felt pen, oak gall ink, oil pastel, and oil paint.

Additional Works
Topo-analysis (Hanging). Law Warschaw Gallery, 2026. Archival paper, string, sticks
Topo-analysis Shadow (Left), City-Scrape: Mapping Half Lives of Empty Space. Law Warschaw Gallery, 2026. Image transfer and oil
After-water: 19 Essays on Stains
Law Warschaw Gallery, 2026. Iron oxides, ink, cotton cloth

INTIMATE TOUCH

Intimate Touch is an experiential art exhibition that invites audience to encounter 8 fired and unfired ceramic objects without sight: through touch, sound, and smell. Intimate Touch questions what qualities are important, which ones we typically notice, and emphasizes that there are qualities and experiences that can’t be achieved through a typical gallery exhibition. It also understands that an object exists in space, whether or not there are humans seeing it.

Fifteen participants were blindfolded and asked to observe an object for two minutes with their hands, laps, and in one instance tongue, touching and holding the object however felt comfortable. After two minutes, the participants kept their blindfolds on and sketched with charcoal, marker, and water anything they observed. Sometimes they said observations out loud, they laughed when the charcoal started squeaking, or when they discovered a hole to put their finger in and they needed group assurance that they would be able to get it back out. Participants were never shown what the objects looked like, afterwards one of them said, “All that’s left is what I remember feeling. It’s very bizarre.”

Exhibited at Macalester College on November 28, 2023

FINDING TIME

In Finding Time, choice is performed as a ritual of walking back and forth in a contained 8 ft by 8 ft area for the length of a normal “working day” (8 hours). A physical memory of movement is held within the 600 lbs of clay pressed into the floor.

Exhibited at the Koch Gallery April 21, 2023