Biography- Konkel received her BFA from San Francisco College for Women at Lone Mountain. She then proceeded to move to Washington, DC where she studied at The Corcoran School of Art and earned her MFA in sculpture from George Washington University. Although Konkel’s work begins with a two dimensional base layer of painted canvas, the color from the canvas soon enters the third dimension. The medium that makes this possible is mesh-- woven strands of metal or fiberglass that serve as a support for pigment. The space between the strands of mesh is the magic that unlocks the doorway to the third dimension and permits color and light to flow both in and out. The light bathes each strand and each layer of color with the vibrancy of reflecting and refracting light. By using mesh, Konkel’s art gives rise to another natural manifestation: moiré patterns. Konkel finds these patterns of particular interest because they bring added independence to color dimension. For her work, Konkel has received a fellowship from the National Endowment for the Arts and the Annie Albers Designer Award in Washington DC.
Artist Statement- My work releases color into the third dimension where it gathers light as it crosses space and becomes ethereal sculpture. It is unlike two-dimensional painting where color is constructed on a single surface and becomes a bonded unit of layers of glaze, paint, or thickly applied impasto. It is not mixed media where color is part of a mix of painting, drawing, collage, or object. Instead, the color I pursue is that which resides independently in the third dimension, color unchained from a single surface where the mix of colors reaches a destination and rests undisturbed. It is color that can waver subtly, and color that is capable of mingling with one color and changing hue, and then mingling with another and changing hue again.
Although my work begins with a two dimensional base layer of painted canvas, the color from the canvas soon enters the third dimension. The medium that makes this possible is mesh—woven strands of metal or fiberglass that serve as a support for pigment. The space between the strands of mesh is the magic that unlocks the doorway to the third dimension and permits color to flow both in and out. With an open doorway, light also enters, bathing each strand and each layer of color with the vibrancy of reflecting and refracting light. At times, the shimmer of iridescence arises, not produced with opalescent pigments but as a naturally occurring phenomenon.
The use of mesh as a medium gives rise to another natural manifestation, moiré patterns. I find these patterns of particular interest for they bring added independence to color in dimension. I can choose the colors of the layers of mesh and the color of canvas. I can manipulate the patterns that arise into various configurations: water marks, grids, and diagonals. But what is beyond my control is the process by which the moiré effect fractures my blend of colored layers into two or more distinct hues, and from these forms a geometric structure. This disassembly of a mix of colors does not occur of its own accord in a painting, or on any two-dimensional surface, or in any overlay of solidly colored translucent objects.
My work is a deconstruction of painting. It releases the layers of a painting into the void where each layer can perform independently within a shower of ambient light. As the mixing of color breaks free from a single surface it expands into another dimension, color itself becomes sculpture.
Read "Joan Konkel Marries Optics and Art..." from SRQ Magazine.
Solo Exhibitions 530 Burns Gallery, Sarasota, FL (forthcoming: March 2018)
Harmon-Meek Gallery, Naples, FL December 2017
National Institutes of Health, Hatfield Center. Bethesda, MD. July 2017
Harmon Meek Gallery, Naples, FL Featured Artist, February 2017
Nikki Sedacca Gallery. Edgartown, Martha’s Vineyard, MA August 2015
530 Burns Gallery . Sarasota, FL 2013, 2015. 2016, 2017
Zenith Gallery. Washington, DC 2006, 2007, 2014
The Crossroads Gallery. Falls Church, VA 2013
Levine School of Music. Washington, DC 2013
Sande Webster Gallery. Philadelphia, PA 2007
Gallery Siano. Philadelphia, PA , “Metallurgy,” 2005
Group Exhibitions 2004 - 2016 A Gallery Fine Art, Palm Desert, CA
Artist's Proof Gallery, Washington, DC
Zenith Gallery, “Forged and Fabricated,” (two person show2004) Washington, DC Zenith Gallery, Washington, DC, multiple shows each year 2004-2017
Louisa Gould Gallery, Vineyard Haven, Martha’s Vineyard, MA
Lagerquist Gallery, Atlanta, GA
Gallery 555, Washington, DC
Lisa Kurts Gallery, Memphis, TN
Long View Gallery, Washington, DC
Gloer Gallery, Palm Desert, CA
M.A. Doran Gallery, Tulsa, OK
National Association of Women Artists, New York, NY
The Barrett Art Center, Poughkeepsie, NY
Museums “WOMEN OF STEEL, MEN OF CLOTH,” Suffolk Museum, Suffolk, VA
The Dishman Art Museum, Lamar University, Beaumont, TX (juried art show)
Permanent Collection: The Polk Museum of Art, Florida Southern College, Lakeland, FL
Collections Include: Interculture Art Inc., Tokyo, Japan
MedImmune, Gaithersburg, MD (triptych: 48” x 180”) Commission.
National Association of Home Builders, Washington, DC, 2004. Mural: 576" x 26"
Kaiser Permanente, Baltimore, MDCommission.
Acme Packet (now Oracle), Bedford, MA Commission.
2M Street Redevelopment, LLC
AdvantEdge Business Centers, Washington, DC
Bean Kinney Korman, Arlington, VA
Crowell and Moring, LLP, Washington, DC
Eagle Bank, Bethesda, MD
Equinox, Washington, DC
F F & E Logistics, Beltsville, MD
HITT Contracting, Inc, Falls Church, VA
Holder Construction Group, Herndon, VA
ING/Clarion, Chevy Chase Pavilion, Chevy Chase, MD
ING/Clarion, Tysons Corner, VA
KSI, Reston, VA
Maslow Media Group, Washington, DC
Mercy Medical Center, Grand Rapids, IA
Pierce Atwood, Washington, DC
Steptoe & Johnson, LLP, New York, NY
Steptoe & Johnson, LLP, Washington, DC
Venable, LLP, Washington, DC Reviews And Publications Phil Lederer, SRQ Magazine, "Joan Konkel Marries Art and Optics at 530 Burns."
Mark Jenkins, The Washington Post, Art & Style, "Sculpture gives a nod to nature," November 30, 2014, p. E8.
The Washington Post, Style Section, “ Galleries: ‘Alchemical Vessels’, May 9, 2014.
Mark Jenkins, The Washington Post. “Galleries.” August 25, 2013.
Brooks Robards, MV Times, “Landscapes of color glow at Gould Gallery.” August 8,2013, p C11.
Brooks Robards, MV Times, “Six Abstract Artists at Louisa Gould.” August 16, 2012,pp C11, C13.
Jim Magner, Hill Rag, “Artist Portrait: Joan Konkel.” February 2012, pp 100-101.
E. Ashley Rooney, "100 Artists of the Mid-Atlantic," 2011, Schiffer, pp. 192-193.
Anne Lee, E. Ashley Rooney, "Artistry in Fiber, Vol., 1: Wall Art.". Schiffer
Mark Jenkins, The Washington Post, Lifestyle, “Industrial-age skills and sensibilities take center stage in ‘Shining Stars’, October 27, 2011.
Emily Lyons, Washington Spaces, "A Moveable Feast for the Eyes, Joan Konkel's Interactive Low-Relief Sculptures". Spring 2008.
Trish Donnally. Washington Spaces, “Manhattan Transfer.” Spring 2007. –AmericanArt Collector. April 2006 Edition.
Debora Martin. Philadelphia Gallery Guide. "Gallery Siano. METALLURGY (JoanKonkel)." Nov. 4-26, 2005. Awards And Honors
Fellowship. The National Endowment For The Arts, Washington, DC
The Annie Albers Designer Award. Washington, DC
Honorable Mention. International Dishman Competition. Dishman Art Museum, Lamar University, Beaumont, TXS Education
MFA, Sculpture, George Washington University, Washington, DC
Studies, The Corcoran School of Art, Washington, DC
MA, BFA, San Francisco College for Women at Lone Mountain, San Francisco, CA