Vital signs, the pulses and patterns of the body, are indicators of
essential life functions. The powerful work of Joe Feddersen
reveals, like vital signs themselves, the state of the human
condition from the vantage point of a contemporary artist who has
inherited an ancient aesthetic tradition.
Arising from Plateau Indian iconographic interpretations of the
human-environment relationship, Feddersen's prints, weavings, and
glass sculptures explore the interrelationships between
contemporary urban place markers and indigenous design. Following
in the footsteps of his Plateau Indian ancestors who "spoke to the
land in the patterns of the baskets," Feddersen interprets the
urbanscapes and the landscapes surrounding him and transforms those
rhythms into art forms that are both coolly modern and warmly
expressionistic.
Joe Feddersen was born in 1953, in Omak, Washington, just off
the Colville Indian Reservation. His mother was Okanogan and Lakes
from Penticton, Canada; his father was the son of German
immigrants. He has been a member of the art faculty at Evergreen
State College in Olympia, Washington, since 1989.
Rebecca J. Dobkins is a curator at the Hallie Ford Museum of Art
and associate professor of anthropology at Willamette University,
Salem, Oregon. Barbara Earl Thomas is a painter and writer living
in Seattle. Gail Tremblay is a member of the faculty of the
Evergreen State College, Olympia, Washington.
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