X

Shauna Peck

2024 Luisa Catucci Gallery Berlin, Germany Artsy viewing room

2022 Linda Matney Fine Art Gallery, Williamsburg, Va.

2020 THE PROTECTED AND THE UNPROTECTED, Studio 01 San Diego , California

2019 DISPLACEMENT , Studio 01 San Diego. California

2017 STUDIO 01 CONTAINMENT, San Diego, California

2016 COP21 Conference Exhibition, Paris 2016 COP21 Conference Exhibition, Paris, France, France

2015 Studio 01 San Diego, California

2008 Bandini Gallery, Culver City, California

2007 California Center for the Arts, Escondido, California, Catalogue, Introduction by Peter Frank

2002 The Studio, FOUND, San Diego, California

1998 Compass, Site-Specific Work, San Francisco, California

1997 Spagnola in Rome, American Artists, Rome, Italy

1996 EQUILIBRIUM, Installation; Rein-Carnation Project, San Diego, California

1995 MATRIX Galleria Spagnola, San Diego, California

1994 Boehm Gallery, Palomar College, San Marcos, California

1993 Mincher / Wilcox Gallery, San Francisco, California

1990 HIDDEN AGENDA Daniel Saxon Gallery, Los Angeles, California

1990 Mincher / Wilcox Gallery, San Francisco, California

1989 Pence Gallery, Santa Monica, California

1989 Mincher/ Wilcox Gallery, San Francisco, California

1987 Pence Gallery, Santa Monica, California

1986 Claremont Graduate School, Claremont, California
1984 NIGHT CROSSING, Installation at Claremont Graduate School, Claremont, California
1982 Installations Gallery, San Diego, California
1980 Southern Exposure Gallery, San Francisco, California
1978 College of Creative Studies, Santa Barbara, California

GROUP EXHIBITIONS

2024 NOS/NR ” No thing at all” La Jolla California

2022 Biophilia Fall “THE PROTECTED AND THE UNPROTECTED” online

2022 MOZAIK Philanthropy ” Time” online

2015 Peripheral Arteries Summer “You are not RELEVANT”

2015 Text/Context SDAI, San Diego, Ca.
2007 San Diego State University, San Diego, CA
2006 Bohem Gallery, San Marcos, CA
2001 Mesa College, San Diego, California
1998 Jorge Beck Gallery, Stuttgart, Germany
1996 OBSERVATIONS ON DEATH, Galleria Spagnola, San Diego, California
1995 VIOLENCIA Galleria Spagnola, San Diego, California
1995 RIP ARTE ’95, Mastra Internazionale di Arte Contemporanea, Roma Italy
1990 Mincher/Wilcox, San Francisco, California
1989 QUIET Oakland Museum, Oakland, California
1989 CONTAINERS, Shoshana Wayne Gallery, Santa Monica, California
1989 YEAR 2: A SURVEY, Pence Gallery, Santa Monica California
1988 SCULPTURED Hillwood Art Gallery, Long Island University, New York Traveling to: Beaver College Art Gallery, Philadelphia, PA, Fine Arts Gallery, University of California at Irvine, Irvine, California
1987 SCULPTURE Jeffrey Linden Gallery, Los Angeles, California
1987 YEAR 1: A SURVEY, Pence Gallery, Santa Monica, California
1986 California State University at Fullerton, Fullerton, California
1984 Claremont Graduate School, Claremont, California

BIBLIOGRAPHY

2022 BIOPHILIA Magazine “THE PROTECTED AND THE UNPROTECTED”

2016 KCET, San Diego, Ca.

2015 Peripheral Arteries Summer Special Issue

2009 Robert Pincus, Sunday ART-PROFILE, Making complex art from single images.
2008 Andy Brumer, ABSENCE AND ELSEWHERE, ART SCENE – May
2008 Peter Frank, Pick of the Week, LA Weekly – April 24th
2007 Robert Pincus, San Diego Union Tribune
2007 Pat Sherman, San Diego Union Tribune
2007 Kirby Fairfax, North County Time
1997 Beater Berman-Enn, Art Scene, July/August
1995 Acille Bonito Oliva, “Rip Arte ’95 Mastra Internazionale di Contemporanea Catalog”, Roma, Italy, CATALOGUE
1995 Judith Anderson, “Matrix”, Art Scene, July/August
1995 Corinne Lynch, “Details on Art”, San Diego Magazine
1995 Artist Series, San Diego Home and Garden
1991 Gail Fine, “Looking Back”, Arts, June
1990 Mincher/Wilcox Gallery, Art Forum, Summer
1989 Jamie Brunson, “Turning Down the Volume”, Art Week, July 15
1989 Paul Tomidi, “Quiet”, The Oakland Museum, June
1989 Publication – Dorothy Burkhart, “Critics Choice”, San Jose Mercury News, June 25
1989 Publication – Steven Appleton, “Inferiority and the Void”, Art Week, June 3
1989 Publication – Kenneth Baker, “Quiet Art Sounding Off Talent”, San Francisco Chronicle, June 3
1989 Publication – Abbey Wasserman, “Journey Into The Quiet”, The Oakland Museum, May
1989 Publication – Kenneth Baker, “Shauna Peck at Mincher/Wilcox Gallery”, San Francisco Chronicle, May 27
1987 Marlene Donohue, “Shauna Peck at Pence Gallery”, Los Angeles Times, July 31

Shauna Peck

2024 Luisa Catucci Gallery Berlin, Germany Artsy viewing room

2022 Linda Matney Fine Art Gallery, Williamsburg, Va.

2020 THE PROTECTED AND THE UNPROTECTED, Studio 01 San Diego , California

2019 DISPLACEMENT , Studio 01 San Diego. California

2017 STUDIO 01 CONTAINMENT, San Diego, California

2016 COP21 Conference Exhibition, Paris 2016 COP21 Conference Exhibition, Paris, France, France

2015 Studio 01 San Diego, California

2008 Bandini Gallery, Culver City, California

2007 California Center for the Arts, Escondido, California, Catalogue, Introduction by Peter Frank

2002 The Studio, FOUND, San Diego, California

1998 Compass, Site-Specific Work, San Francisco, California

1997 Spagnola in Rome, American Artists, Rome, Italy

1996 EQUILIBRIUM, Installation; Rein-Carnation Project, San Diego, California

1995 MATRIX Galleria Spagnola, San Diego, California

1994 Boehm Gallery, Palomar College, San Marcos, California

1993 Mincher / Wilcox Gallery, San Francisco, California

1990 HIDDEN AGENDA Daniel Saxon Gallery, Los Angeles, California

1990 Mincher / Wilcox Gallery, San Francisco, California

1989 Pence Gallery, Santa Monica, California

1989 Mincher/ Wilcox Gallery, San Francisco, California

1987 Pence Gallery, Santa Monica, California

1986 Claremont Graduate School, Claremont, California
1984 NIGHT CROSSING, Installation at Claremont Graduate School, Claremont, California
1982 Installations Gallery, San Diego, California
1980 Southern Exposure Gallery, San Francisco, California
1978 College of Creative Studies, Santa Barbara, California

GROUP EXHIBITIONS

2024 NOS/NR ” No thing at all” La Jolla California

2022 Biophilia Fall “THE PROTECTED AND THE UNPROTECTED” online

2022 MOZAIK Philanthropy ” Time” online

2015 Peripheral Arteries Summer “You are not RELEVANT”

2015 Text/Context SDAI, San Diego, Ca.
2007 San Diego State University, San Diego, CA
2006 Bohem Gallery, San Marcos, CA
2001 Mesa College, San Diego, California
1998 Jorge Beck Gallery, Stuttgart, Germany
1996 OBSERVATIONS ON DEATH, Galleria Spagnola, San Diego, California
1995 VIOLENCIA Galleria Spagnola, San Diego, California
1995 RIP ARTE ’95, Mastra Internazionale di Arte Contemporanea, Roma Italy
1990 Mincher/Wilcox, San Francisco, California
1989 QUIET Oakland Museum, Oakland, California
1989 CONTAINERS, Shoshana Wayne Gallery, Santa Monica, California
1989 YEAR 2: A SURVEY, Pence Gallery, Santa Monica California
1988 SCULPTURED Hillwood Art Gallery, Long Island University, New York Traveling to: Beaver College Art Gallery, Philadelphia, PA, Fine Arts Gallery, University of California at Irvine, Irvine, California
1987 SCULPTURE Jeffrey Linden Gallery, Los Angeles, California
1987 YEAR 1: A SURVEY, Pence Gallery, Santa Monica, California
1986 California State University at Fullerton, Fullerton, California
1984 Claremont Graduate School, Claremont, California

BIBLIOGRAPHY

2022 BIOPHILIA Magazine “THE PROTECTED AND THE UNPROTECTED”

2016 KCET, San Diego, Ca.

2015 Peripheral Arteries Summer Special Issue

2009 Robert Pincus, Sunday ART-PROFILE, Making complex art from single images.
2008 Andy Brumer, ABSENCE AND ELSEWHERE, ART SCENE – May
2008 Peter Frank, Pick of the Week, LA Weekly – April 24th
2007 Robert Pincus, San Diego Union Tribune
2007 Pat Sherman, San Diego Union Tribune
2007 Kirby Fairfax, North County Time
1997 Beater Berman-Enn, Art Scene, July/August
1995 Acille Bonito Oliva, “Rip Arte ’95 Mastra Internazionale di Contemporanea Catalog”, Roma, Italy, CATALOGUE
1995 Judith Anderson, “Matrix”, Art Scene, July/August
1995 Corinne Lynch, “Details on Art”, San Diego Magazine
1995 Artist Series, San Diego Home and Garden
1991 Gail Fine, “Looking Back”, Arts, June
1990 Mincher/Wilcox Gallery, Art Forum, Summer
1989 Jamie Brunson, “Turning Down the Volume”, Art Week, July 15
1989 Paul Tomidi, “Quiet”, The Oakland Museum, June
1989 Publication – Dorothy Burkhart, “Critics Choice”, San Jose Mercury News, June 25
1989 Publication – Steven Appleton, “Inferiority and the Void”, Art Week, June 3
1989 Publication – Kenneth Baker, “Quiet Art Sounding Off Talent”, San Francisco Chronicle, June 3
1989 Publication – Abbey Wasserman, “Journey Into The Quiet”, The Oakland Museum, May
1989 Publication – Kenneth Baker, “Shauna Peck at Mincher/Wilcox Gallery”, San Francisco Chronicle, May 27
1987 Marlene Donohue, “Shauna Peck at Pence Gallery”, Los Angeles Times, July 31

... more

 

 

 

 

 

 

ARTIST BIO

In her art Shauna Peck uses of a variety of materials to show her insightful investigation of universal metaphors and contemporary narratives. Her art particularly emphasizes the interconnectedness between technology and the appropriated natural landscape, reflecting her deep engagement with these themes. She explores the intricate relationship between new technologies, the simulated world, and the disappearing natural landscape. Her work is characterized by a continuous experimentation with a variety of materials and mediums, which dominate the surface quality of her pieces. The sensuous nature of charcoal and the reflective attributes of metallic pigments accentuate her depictions of a vanishing environment. Peck’s attraction to using bee’s wax, bronze, and cement is driven not only by their tactile appeal but also by their symbolic significance. These materials serve to hermetically seal images from reality, conveying a desire to protect a vulnerable landscape. Often, she reveals only a glimpse of a landscape or form, highlighting the stark contrast between untamed wilderness and human development.

Through her art, Shauna Peck calls for a rethinking of our place in the world. She suggests that while technology may play a crucial role in preserving or replicating the natural world, it also raises questions about who will be the protected and the unprotected. In her art, Peck addresses the ecological crisis, which she believes has created new forms of inequality. In the current era of disinformation and extremism, she emphasizes the interconnectedness between the disappearing natural environment, social inequalities, and the fragility of democracy. The alarming rate at which humans deplete natural resources has exacerbated inequalities, raising questions about who will be protected in the future. Peck’s work also delves into the concept of the simulated world, where reality is often obscured by a hyperreal representation. She posits that humanity’s growing inclination to participate in a simulated world might contribute to a lack of concern for environmental preservation. This apathy towards the natural world poses a challenge to the struggle between protecting unspoiled landscapes and allowing for human progress. Through her art, Shauna Peck calls for a rethinking of our place in the world. She suggests that while technology may play a crucial role in preserving or replicating the natural world, it also raises questions about who will be the protected and the unprotected. This tension between safeguarding the environment and facilitating human advancement lies at the heart of her reimagined world.

ARTIST’S STATEMENT

For the last decade my work has explored the relationship between new technologies, the simulated world and the disappearing natural landscape. My use and experimentation with a variety of materials and mediums-continues to dominate the surface quality of my work. The sensuous quality of charcoal and reflective attributes of metallic pigments, accentuates the depiction of a disappearing landscape. My attraction to the use of bee’s wax, bronze and cement, is not only appealing for its tactile quality; but symbolically conveys a reference to hermetically sealing the image from reality, suggesting the desire to protect a vulnerable landscape. Often, I reveal only a glimpse of a landscape or form. The contrast between the untamed wilderness and human development seems inescapable. The ecological crisis has created new forms of inequality.  Most recently, during the current era of disinformation and extremism; the relationships between the disappearing natural environment, inequality and how fragile democracy has been highlighted. The interconnectedness between social inequalities and the environment; can no longer be denied. The ability for humans to deplete natural resources at an alarming rate has contributed to inequality, regarding who will be -the protected. Further-we are living in a simulated world. A copy world. We may fade into the landscape-where there is neither the real representation nor the real remaining. Just the- Hyperreal. The desire and ability for humans to participate in a simulated world; may contribute to the lack of desire and apathy, regarding environmental considerations or a reimagined world. The struggle to balance -protecting the unspoiled and allowing for human progress, seems to highlight the need to rethink our place in the world. However, it will most likely be –technology that will contribute to preserving or replicating the natural world. Who will be the PROTECTED OR UNPROTECTED-will take center stage, regarding the struggle to balance- protecting the unspoiled landscape and allowing for human progress, in a reimagined world.

share on