PlaySpace Magazine, Inaugural edition, Editors; David Gibson and Michele Basora, May, 2012

“The painting and poem by Dianne Bowen create a context for the concept that linear thinking provides a limited perspective
where art and nature are concerned. Wordplay and lineplay are two ways that Dianne Bowen gets her point across. Inherent
complexities and natural rhythms collide. Tracking nature is like rationalizing instinct. Bowen’s graphs create new frequencies of
reason that unwind and coalesce as we read into them. The force of our attention is matched only by her ability to guide it into
challenging pathways redolent with meaning.” – David Gibson

Leah Oates, Station Independent Projects.(excerpted from foreword and essay “A Fragile Conversation published January, 2012)

“Dianne Bowen is inspired by disregarded matter and space that she notices by chance during daily walks. From these chance
encounters, Bowen begins a layered and thorough process to uncover the poetic possibilities of each object or space to
elucidate the complex core of each item. Due to Bowen’s discerning work process she formulates links between mundane
objects, nature, space, time and sound to show us miraculous worlds that are continually present if we decelerated our pace.
Traces, silhouettes, shape and elucidation of space are reoccurring ideas within the installation, painting and drawing that Bowen
creates however each method is singular in its treatment.

Bowen’s work formally explores line and form but underlying this is the act of looking and of slowing down to take notice of
unadorned daily subsistence. Her work suggest that there is mystery in the unexamined and the mundane and that in considering
our surroundings we are closer to the singular in our everyday reality than we thought possible.” –Leah Oates

Praeterita: artist-writer-artist, an interview with Dianne Bowen by Philip Hartigan

October, 10, 2011, on line blog

“Dianne Bowen is a New York artist who uses paintings, drawings, words, installations, videos, to create a set of complex visual
responses to internal and external space. At a conceptual level, her work originates in a fascination with systems, of
communication and miscommunication. At a visual level, her work in all media is just incredibly satisfying to look at. I was
delighted to discover that her use of words is as skilful as her manipulation of the material processes of art. In this interview, she
answers some questions about the relation between word and image in her work.” – Philip Hartigan

Huffington Post, (R)evolution: Eros(ion) Flow at the Gershwin Hotel, February 17, 2011

By Lisa Paul Streitfeld

Images of Dianne Bowen performing an original drawing performance for the show, “Breaking The Surface”

X Initiative Opening, A Marathon night of critiques by Art Critic, Jerry Saltz, You tube, 2010

A short 8 minute impromptu critique by Jerry Saltz on Dianne Bowen’s work, “Web Search”, 2010

ARTslant, NY, On the Edge at the Fountain by Natalie Hegert, March, 2010
“Other notables included Dianne Bowen's perplexing and conceptually complex installation alongside Chris Twomey's videos at
Creon Gallery's booth; “

Critical Triology; A Critics Millennial Journey by Lisa Paul Streitfeld, November, 2010

“Dianne Bowen is unclassifiable as an artist and a person. She transcends all categories and therefore, it was fitting that her
latest installation a collaboration with Heins Kim, was titled, quite simply for a complex work, The Web,..”

“Back to the Beginning and Begin Again.. selected works 2006-2008 published 2010, foreword by Peter Duhon Jr. Director of, Art Critic and Curator

“Dianne Bowen bravely heightens awareness of beauty that has been both forgotten or simply overlooked by her visual
exploration of energetic form coupled with her use of imagery and objects that challenges the usual concepts of beauty. In a
world where unconscious behavior is often rewarded and celebrated, the need for art that deals with consciousness through
visual means is utterly essential and a must for a functioning and healthy society.” – Peter Duhon, Jr.

Art In America, June/July, 2007 “Girls, girls, girls... “ by Carey Lovelace

(image and review pg. 90, from the exhibition “7th biennial exhibition, A.I.R. Gallery, NY, NY, curated by Connie Butler, Robert
Lehman Foundation Chief Curator of Drawings, Musuem of Modern Art, NY )

“Throughout the show, gender references, where they occurred, were oblique-innovative engagement with the female figure was
gained through composition or materials rather than political or social critique. Dianne Bowen’s horizontal wall piece Finnegan
Begin Again (2006), one of the shows most effective works, featured brownish concentric swirls that brought to mind the rings of
a tree or breasts or folding skin. Bits of guitar wire and seeds were applied to the surface and, in a reference to life cycles and
reproduction, small brown birds eggs were attached so that they seemed to float above the surface.”

Annotated Resume and links:

Born: 1964

Lives and works in New York City


School of Visual Arts NY NY

Artist Summer Institute, Governor’s Island, NY, Lower Manhattan Cultural Council and Creative Capital

Summer Session SVA Drawing Like The Old Masters, Professor Anne McCoy

Brydcliffe Residency, Woodstock, NY, 2008

Research Travel Estonia, Ireland, Finland, Iceland, United States 2000-2004

Ninipai Art Center/ The Nesting Art Gallery, Ravenna, Italy: Residency and Solo Exhibition October-November, 2012

Solo Exhibitions:

2011  Tribes Gallery, NY, NY, “Dismember The Night-Selected Poems and Photographs” collaboration Dianne

     Bowen and Kofi Fosu Forson, October, 28

2009  55, NY NY, “between music and line - it’s how the body grooves”, drawing performance with Bill Sims Jr.

2008  Artlesnyc Studios, NY NY “Wire Tap” collaboration Dianne Bowen and Heins Kim

2007 Tribes Gallery, NY NY, “Back to the Beginning and Begin Again preview of selected works on paper”

2005  55 Mercer Gallery, NY NY  “That Will Leave A Mark” March

     AIR 88 Showroom, NY,NY “A Hard Winter- Retrospective 1999-2006” curated by Kassia Conway

Selected Exhibitions/Juried Exhibitions:

2012  Draakon Gallery, Tallinn, Estonia, “The Tallinn Drawing Triennial, 2012”, curated

     by Loit Jõekalda, August

     (Contributing Artist/Writer- short story for Philip Hartigan’s solo show “Dia Del Padre) Art on Armitage Gallery,

     Chicago, IL, August

     STUDIO 371, Jersey City, NJ, curated by Jeanne Brasile, May 4
     Minimal Exposition: “Dianne Bowen in 2 dimensions”, May dimensions.html

     Minimal Exposition: “Dianne Bowen listening”, May

     Skylight Gallery, NY, NY, “Still Spot”, curated by Jaanika Peerna, February 23

     Pink Gallery, Seoul, Korea, “Cozy Winter” curated by Grace Rim, December- January

2011  Pierre Menard Gallery, Cambridge, MA,”One of A Kind”, curated by Heide Hatry, March 1

2010  Exit Art, NY, NY “Fracking” curated by Lauren Rosati, Assistant Curator, with Peggy Cyphers, Ruth

     Hardinger, and Alice Zinnes, December

     HP Garcia Gallery, NY NY, “Women in the 21st Century- the sacred marriage Margaret Fuller

     Biennial” curated by Lisa Paul Streitfeld August
     Pierre Menard Gallery, Cambridge, MA, “Women in the 21st Century- the sacred marriage Margaret Fuller

     Biennial” curated by Lisa Paul Streitfeld, May

     The Estonian Cultural House NY, NY, “Latatara”, curated by Jaanika Peerna, Anneliis Beadnell and

     Leevi Emrits March

     Winkelman gallery NY, NY “Art shred” curated by Ed Celso”, March

     The Arthouse at the Jones Center, Austin, TX, invitational benefit, April

     Seattle Mens and Womens Chorus, Seattle, WA, “Just Art”, Annual Invitational Benefit

2009   Chashama Lobby, Third Avenue, NY NY, The Chashama Film Festival

     Seattle Mens and Womens Chorus, Seattle, WA, “Just Art”, Annual Invitational Benefit, August-September

     The Klein Art Center Woodstock NY Annual Invitational Benefit, November

     The Estonian Cultural House, NY NY “Home”, with panel discussion

     The Drawing Center, NY, NY,  “FAX” curated by João Ribas (open call participation, faxed to Mexico)

      National Traveling Exhibition “the sketch book project”
     Art House Gallery - Atlanta, GA,

     Laconia Gallery - Boston, MA

     Antena Gallery - Chicago, IL

     Soulard Art Market - St. Louis, MO

     3rd Ward - Brooklyn, NY

     Chicago Art Source Gallery - Chicago, IL
     Metro Pictures, NY NY  

2008  James Cohan Gallery, NY NY,Nurture Art 08, benefit curated by Koan Jeff Baysa,

     Lowell Pettit, Amy Rosenblum Martin and Lilly Wei. Oct 27
     The Grace Institute, NY NY, “Never Routine” opening March 11

     A.I.R. Gallery, NY, NY, “biennial exhibition of small works”, feb. 7

     Umbrella Arts / Robert Curcio Projects, NY NY “Walk Ins Welcome” curated by Robert Curcio August

     Ku Art Center, Beijing, China, “The Tile Project” Transculutural Exchange

     Abamabhad, India,  “the Tile Project” Transcultural Exchange

2007 Northfork Bank, NY,NY curated by Tribes Gallery, Steve Cannon

    A.I.R. Gallery, NY NY “7th Biennial” Juror Connie Butler, Chief Curator of Drawings, The Robert Lehman

    Foundation The Museum of Modern Art

    New Life Shop, Berlin, Germany "Urban Spaces", simultaneous exhibition at

    Oi Futuro, Rio de Janeiro, RJ

    FOTOPUB documentary photography festival, “Urban Spaces”, Slovenia

     Foto Arte, photography festival, “Urban Spaces”, Brasil         

    Fusion Gallery, Asian Cultural Center, NY NY “Essence of Asia”, juried by reflect-arts

    Paul Alexander Gallery, Framingham, MA “Self and Thought” curated by William Kerr

2006 The Estonian House Cultural Center, NY NY “LõõM 06 art in dialogue: estonia –new york

    A-Forest Gallery, NY NY “Dreamers Rendezvous” selected American and Japanese artists

   “The Gates Project”, juried benefit, with Ripple Africa and Madre’s   

    Humanitarian project, national tour             

    Flying House Productions, Seattle, WA, “Wicked” Invitational Anniversary Benefit.

    Le Musee de Monoian, Pittsburgh, PA “Illuminations” curated by Barbara Monoian

    The Ryder Project, Glowlabs CONFLUX Festival, Brooklyn, NY “Cell 2 Cell” curated by Michelle Gambino

    The Ryder Project, Dumbo Arts Festival, NY NY “Nuebees” curated by Michelle Gambino

2005 Winchester Fine Art, Brooklyn NY “Art 4 Medicine”

2004  Anthem Gallery, NY NY  “Finding Rembrandt” featured artist curated by Kassia Conway

2003 Emrys Art, Carmethen, Wales “International Open Competition”

   Oriel Emrys Gallery, Haverford, Wales “Winners from International Juried Exhibition”

1982-84 Paine Webber 2nd. Floor, NY NY, “fairy’s”

Museum Group Exhibitions:

2010  MUBE- Museu Brasileiro de Escultura, Sao Paulo, Brazil “A Book About Death”

     THE TABERNACLE MoMA Wales, Machynlleth, Wales, UK, “A Book About Death”

     The Ontological Museum, Ft. Worth TX

2009  Museum of Design Atlanta (MODA) - Atlanta, GA “The Sketchbook Project”

     Museum of Contemporary Art DC - Washington, DC, “The Sketchbook Project”
Art Fairs:

2011  The Pink Art Fair, Creon Gallery, Seoul, Korea, September

2010  The Fountain Art Fair, Creon Gallery, NY March

     The Fountain Art Fair, Open Ground, NY March

2009  Brooklyn Artery,  Playspace Projects Brooklyn NY, “I’d like to teach the world to play” Sept. 11

     Frieze Art Fair, UK, Within the Framework of Frieze Projects, “Open Call” project by Brina Thurston

     presented by Filipa Oliveira + Miguel Amado as part of their project “Impossible Exchange”

     The Bridge Art Fair, “BROADTHINKING”, The Waterfront, NY NY, March

2008  The Bridge Art Fair, “BROADTHINKING” Catalina Hotel, Miami, Fl, dec 3-8

     The Fountain Art Fair “Open Ground”, Wynwood district, Miami FL Dec. 2-8

2007  The Pool Art Fair-Miami, Cavalier Hotel, Miami, Fl, Dec 7-9

2005  The Pool Art Fair, with EAI, Solita Hotel, NY NY March

Honors / Awards:

2010  21 artists featured on Local Seattle TV, “Benefit auction with Flying House Productions” Flying House

     Productions Seattle, WA

2008, featured artist of the month

2007  Fusion Gallery Asian Cultural Center, NY NY “Essence of Asia” Honorable Mention

2004  Anthem Gallery NY NY, “Finding Rembrandt”, featured artist

Public Art Projects

2009   “Paint Out”, NY NY Orchard Street Mural, sponsored by the LES bid

2007   Mural project, Stratford House Bronx Community Center Library, Bronx, NY, lead artist

2006  “The Windows Project,ashes2ashes” Easthampton, MA, Easthampton Cultural Council, WPA Artists, work in

      the collection of the Local Elementary School in use for Art program

      Hallowseen kids Mural and workshop, resident artist Artlesnyc studio, NY NY in partnership with PBS Art 21

2005   Paint Out Mural “It’s All Good”, depicting the cultural history of the Lower Eastside Community. NY NY

      sponsored by LES BID Inc

1999   15’ x 15’ Mural PS 3 The Charette School for art and music, NY NY  “Reading is fundamental”

On-Line Exhibitions/blogs

2011  Video/Filmpoem;, December 2

2009  Visual Aids, San Francisco, “After Life”

2005  Artscene on line gallery, featured artist in August



2010 NYARTS, October, Volume #15, “Playing the Curve” interview by Leah Oates with Dianne Bowen, pg. 8

2008  Artscope; Miami Fairs, 2008 by Susan Schwalb on line and in print;
2007 Art in America June/July issue, “Girls Girls, Girls-Feminist phases and philosophies let me  count the ways…”  by Carey
Lovelace, Image and review pg 90 “Dianne Bowen’s horizontal wall piece Finnigan Begin Again (2006) one of the shows most
effective works..”

Artworld Digest, “The Seed” issue


2009   The Kalm Report, BROADTHINKING at the Bridge art fair NY 09/ /

2008   “Art in Dialogue” documentary featuring: 10 artists in their studio by Jaanika Peerna and Annette Solakoglu. with support
from the Estonian Foundation for Arts and Letters. Screened at the Estonian Cultural House NY NY December 6

2007 Sony Pictures, “Its All good” Mural used in Adam Sandler’s movie, “Don’t Mess With The Kohan”.

2006  “Art in Dialogue” documentary featuring 10 artists in their studio by Jaanika Peerna and Annette Solakoglu, Parnu
Independent Film Festival, Museum For New Art, Parnu, Estonia.


2009  . WVOX 1460AM. “metal Mayhem” hosted by Tony Gizzo, Interviewed by Rooster. Live with Dianne Bowen and Bill Sims Jr

On line:

2011 Hyperallergic: “From the Easel” by Philip Hartigan, December

Praeterita: artist-writer-artist: October interview on my work with artist/writer Philip Hartigan

The Huffington Post on-line 2/17/2011 “(R)evolution: Eros(ion) Flow”, Lisa Paul Streitfeld

Feb 17, 2011 THE PALM BEACH PROPER, “(R)evolution: Eros(ion) Flow”, Lisa Paul Streitfeld on line edition cultures and

2010  Critical Trilogy; A critics millennial journey: Lisa Paul Streitfeld, December

Critical Trilogy; A critics millennial journey: Lisa Paul Streitfeld, November

Critical Trilogy; A critics millennial journey: Lisa Paul Streitfeld

“Dianne Bowen is unclassifiable as an artist and a person.  She transcends all categories and therefore, it was fitting that her
latest installation was titled, quite simply for a complex work, The Web, at Culturefix Gallery on Clinton Street.”

The Cartier Review: Principal Editor Joy Leftow pg 65-66 “Dianne Bowen’s Electric Drawing”

ArtSLANT NY, March pics, On the Edge at the Fountain by Natalie Hegert, March 4, 2010 – Pic of the month March “Other
notables included Dianne Bowen's perplexing and conceptually complex installation at Creon Gallery's booth”
2008 Globatron Interview with Byron King

Lucid Culture: art review; “Walk – ins Welcome”, Umbrella Arts, NY NY August 30
C-MONSTER: “in the Pool Art Fair”


2007 Artspace Talk, featured artist July interview, by Brian Sherwin,

2006 Glow lab 08-Let every pothole bloom—with grass!--By Ariella Cohen, The Brooklyn Papers,  from "the seed project"

Alter Magazine, “Self Defense is a Feminist Issue” by Janice Peterson, image used for article

2005 LMCC Newsletter; AROUND TOWN EXHIBITION “Dianne Bowen and Aaron Thompson along with 7 others hit the Lower
East Side creating murals interpreting its history and culture.”

2002 On-line magazine Inaugural Issue 0102, “Photography:”2002 “Dianne Bowen asks the question,
What do you do for money, answers anything it takes.”

Slide Registries;

NYS Department of Cultural Affairs, Percent for Art Program

The Drawing Center curated viewing program

NYU Langone Medical Center Art Collection Private Artist database program

The Painting Center curated Open Art Program 2006-2008

Artist Space Adam Sandler file

MoMA Slide Archive Library

Nurture art, Brooklyn

PS 1 Studio Visit

AS Artist Studios database:

Public Permanent Collections:

Muse’ de Monioan, Pittsburg, PA

MUBE- Museu Brasileiro de Escultura,  A Book About Death collection, Sao Paulo, Brazil

MoMA Museum, Wales UK A Book About Death collection

The Ontological Museum, Ft. Worth, TX

Art House Brooklyn Library- original artist book collection, Brooklyn, NY

Bibliography: Books and Exhibition Catalogs

2012  “Mantenant 6”, published by Three Rooms Press, March

“A Fragile Conversation” foreword by Leah Oates, Station Independent Projects, October, Maekask Editions Tallinn-New York.
Hardcover and soft cover edition and archival editions Released Date October 30, 2012
PlaySpace Magazine, Inaugural edition, Editors; David Gibson and Michele Basora May

2011 Pink Art Fair Catalog, Seoul, Korea

“Wire Tap” collaboration Dianne Bowen and Heins Kim catalog available through the artist by request

“Dismember The Night”, selected photographs and associated poems, Dianne Bowen and Kofi Fosu Forson, catalog and
archival edition book, October, Maekask Editions Tallinn-New York.

“A Conversation With A Byrd On A Cliffe”, featuring works created at the Woodstock Byrdcliffe Residency,

June, 2008, public publishing date TBA available by private request to the artist

2010 “Back To The Beginning And Begin Again..” selected works 2006-2008 foreword by Peter Duhon Jr. Director,, Maekask Editions Tallinn-New York. Archival edition and a signed and numbered

    limited edition AP1/2, 1/7 ()which includes an original drawing on mylar) Original artists proof with 2 small

    study’s permanent collection of the Ornithological Museum, Ft. Worth, TX

2008 Bridge Fair catalog

    Fountain Art Fair catalog

2006 Auction catalog, Art Matters

2005 Auction catalog, Art Matters

Links to refer back to :

A Fragile Conversation, published January, 2012,

Back to the Beginning and Begin Again... :

Playspace Magazine;

Praeterita: blog by Philip Hartigan,

Hyperallergic, A view from the easel:

Artist website;

PS1 studio visit:

AS-Artists Studio database:

Maintenant 6: Dada Poetry & Art Journal:

Dianne Bowen
170 E. 2nd. Street #30
NY NY 10009
T: 646-373-9761
studio visits by appointment
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You Tube
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Dianne Bowen
Wire Tap I digital photograph size variale 2008
Bundle Source digital photograph size variable, 2008
Crossed Power Lines digital photograph size variable 2008
Tell Me Everything VII, digital c-print, 2010
Artist Statement:

- the philosophy of listening – Dianne Bowen

“Drawing is like taking a line out for a dance. Sometimes it’s a salacious tango, a raucous heavy metal slam dance, as
structured as a waltz and sometimes, a Virginia reel, I’m switching hands and partners, pencil, pigment, sound, moving image.
Silence has a sound, texture, cadence, stillness leaves its traces, you carry them with you evermore..

My work begins with a conceptually complex system translating sounds and language that result in poetic spaces and visual
poems. Incorporating writing into my process is an extension of mark making that links the varied mediums together. I’m
interested in pushing the boundaries of what it means to draw through materials or combinations of mediums and techniques.
My color palette and materials reflects the connection and contradictions concerning the natural vs. the made. Whether archival
pens, light- fast wax and multipurpose pencils, china markers, acid free papers, pigments, oil on acid free papers and canvas to
guitar wires, minute seeds, eggshells, coral pods, plastic bubbles, copper phone wire, dress pins, magnifying glasses or
recorded and found sounds and images of process, each one is carefully considered and accounted for. Music, writing and
drawing are basic forms of human communication, which run parallel.

Work Process: The Back Story

Keeping a notebook of sorts on a small table allows me to write as I work. Incorporating writing into my process is an extension
of mark making that links the varied mediums together. They’re a collection of fragments reminiscent to Burroughs with a twist,
the origin of the words comes from deciphered sounds or associated to musical compositions, the very act of drawing itself and
poetry created during the process. Whether it’s light flickering on windows, sounds from the studio and the environment outside
I decipher them through a series of translations. Eventually forming note and what I have termed code poems culled from the
depths of nothing and everything. Final edits or additional lines are done after a few days of contemplation with the work. In
2011 I began incorporating video conceptually into the drawing process for several pieces. In these I begin to form poems
related to the act of drawing. The sound of the line is akin to a guitar or other stringed instrument. In essence, I’m visually
documenting the live interaction and releasing the voice of the line from its inaudible surface. Similar to quick gesture drawing,
they are live without editing. These initial influences and first steps taken conceptually can take several days to months to
create. The surfaces are always the first consideration, materials whether industrial, organic or archival are mindful of their
original intentions. Pinning the collection of fragments canvas to the wall changing light sources frequently enhance shadows
cast and the imperfections of the surface. Following draws the initial lines as if excavating unknown topographies, ariel views,
seismological graphs or cardiographs.

And so it begins, the poet and the painter converse. “I wanted to give you something, like a note in a drawer, a memory to keep
with you, for when you need it, a whisper in your ear, I’m listening..
"Wire Tap" physical study II, 2010, site specific installation, New York City. Originating from five points within the gallery space, the fragile lines of wires and
shadows cast spread through the environment as salacious covert connections. Beginning from the ceiling, the red cased wires nested in a niche in the skylight.
Eventually the casing is stripped and the wires are woven into a web that cnnects to four walls canopied overhead. The casing cascades down the wall into a pile
on the floor referencing an organic circulatory system in the process of a hidden virus enveloping the space. The web as metaphor found in both nature and
technology as a structural system of order appears to degrade and unravel. Removing the work from the space by delicately snipping each of the four connecting
lines with tiny sewing scissors the viewer is now witness to it's death.
Wire Tap, 2008, collaboration Dianne Bowen and Heins Kim, detail wall I night; outdoor project space, New York City, In 2008 Heins Kim and I began our project
"Wire Tap". The installation is site-responsive with the ability to evolve similiar to intelligent technologies. Exploring this ability, we created two pieces in both a raw
outdoor space and a gallery white wall setting. The nature of the work is to spread through each enviornment it inhabits. We currently exploring producing the piece
on a large scale in various locations within the US and abroad. "Wire Tap" examines the lines of communication and infinite conversations through which
information bounces faster than the speed of light within a border-less global community. The work explores the process of conversation decoding, translating what
and how we listen and hear these audible and inaudible sounds. Information is concealed or revealed by discretion mending and repairing itself disguised as
stealth. An envelopment of wires as metaphor to close or create connection to multiple and diverse dialogue between exisiting decay and the fabricated Utopia that
attempts to coexist. Constructed from alternating black and red data wires, the hand woven central web is at the core of the grid-canopied overhead. Covering the
walls in canvas in a skin-like reference, it was cut and sewn as if a surgical wound in varied states of healing. Hidden beneath the original decaing walls, phone
wires are delicately pulled apart and pinned back together. Pristine green astro turf covers the floor, a man made fantasy of growth. Found cassette tape threaded
through wires lightly moves as you pass, no longer available, discarded and unwanted. Light ropes behind the work begin to show through as day turns to night,
offer another dimension. Several recordings are heard from 3 locations through mini speakers connected to hidden ipods include; whales, seals defending their
territoty and a prank call arguement. Sounds looping through the intricate web, evoke the feeling the work is "living" eliciting interaction. Weather begin to age the
canvas and rust exposed wires, the ipods are disconnected, and the viewer once active participant is now witness to it's process of death. In a world on information
overload, how and what do we hear? Maybe one of the most important questions of our time.
Wire Tap physical study II, 2010, detail wires and shadows
Due to the nature of my work and process I am a nomad working primarily from my East Village studio, which I fondly refer to as
“The Think Tank”. The building has an interesting history before gentrification of the area. It’s been the home to many artists,
musicians or writers of one sort or another. It’s where the Poet Allen Ginsberg wrote Kadish, The Howl and other legendary
works. When passing his former apartment on my home I often smile and touch the door quietly saying to myself,  “Hey Allen.”  
Here is where the work comes together conceptually and I make work. It’s a small space that affords me the ability and comfort to
work with various mediums at arms length and write simultaneously. I’ve lived and worked here with my husband Rein for well
over a decade. Working long and odd hours, getting up in the middle of the night or working until the wee hours when the city is
changing shifts is simply the way I live as an artist. My studio is my home. At one point many years ago, my husband came home
to find I’d thrown out all the furniture because I needed more room to work. He never complained but I think he does miss a
having an actual couch now and then which has become an inside joke. Ha ha ! He’s found me fast asleep in a chair or on the
floor in front my work on many nights. Picked me up and said, “that’s it, come to bed.”  Art is a twenty four hour 7 day a week
passion, I have no on and off button. It’s the fourth of July in my head, all these ideas, swirling around, puzzles shifting here and
there words slide into color, shape and texture constantly and I wouldn’t have it any other way. Working in a variety of mediums
and scales requires my working in various temporary spaces simultaneously.
Wire Tap, 2008, collaboration Dianne bowen and Heins Kim, detail corner (night) studio outdoor project space, NY NY
Wire Tap, 2008, collaboration Dianne Bowen and Heins Kim, detail 9 tears and stitching;
studio outdoor project space, NY NY  
"Wire Tap" Physical Study I, 2008 NY NY 200 square feet collaboration Dianne Bowen and
Heins Kim 200 square feet, 2 stories up detail wall II, full materials list upon request  
Unseen Lines Seek Shelter; heal roads far away, 2010 detail installing. Unseen Lines Heal Roads Far Away, Created for Creon Gallery at the Fountain Fair which
was held on a barge, the suspended wires quietly move documenting the drafts through the walls and the shifting boats movement on the waters current. Mylar cut
outs on the floor slowly migrated into other spaces like seeds in the wind. I created code poems from initial ambient sounds which are deciphered into several
translations of code or text are extremely tiny flow through the work. they are etched into glass, written in papers or seen under the magnigying glasses. The
viewers bent down to read them. The work while highly detailed is at first glance almost invisible. The peoms read, Unseen Lines Seek Shelter, Solar flares heal
roads far away, I am here within these lines, hear me, seek me out.200 feet copper phone wire, 1500 pins, archival pen, hand made paper, mylar, wax pencil,
pigment, cut outs, corugated plastic, code poem print outs, tape, glass panels with etching, glass fragents,white plastic thread, found copper and steel staples,
2010 Fountain Fair
“I never thought I became an artist, it’s something I’ve always been, it’s who I am that simply revealed itself and I was smart enough to listen.
Not bad for a six year old...” –Dianne Bowen
In 2010-2011, I lived and worked on large-scale drawings in a massive private studio space directly across from ground zero.
Eerily quiet and completely desolate at night it was like stepping off the world. As it was temporary, I worked at a feverish pace 7
days a week for months. Beginning between 9 and 10am until about 7 to 9am the next morning. The large-scale works and
installations are physically and mentally grueling. I’d lost over 50lbs during this time but did not stop. Thankfully my close friend
photographer Nikki Johnson would come and stay with me on occasion to make sure I was eating and sleeping. She began
taking documentation photographs of my working process for me and for her own portraiture series, which is ongoing. She would
ask, “Dianne when was the last time you ate or slept? 3 days ago! That’s it put the pencils down now. If your dead you realize
you can’t make any more art.” (private joke between us)

In 2009 I was showing work in Miami and the Wynnewood district with Broadthinking and the Open Ground Collectives
simultaneously. It was here, I created “Land Line”, a large scale outdoor, temporary site-specific installation. Wanting to do an
outdoor piece using water in some way, the beach became my temporary studio for the day. I gathered seaweed, shells and pods
the tide had left on the shore into piles to form the word “listening” in Morse code that repeated along the shoreline for about 300
feet. It followed the natural line left now invading the man-made safety area marked by the orange cones. A piece of yellow
plastic crime scene tape left there from the previous night said, Policia, line do not cross was placed at the beginning of the line.
While creating the piece a young boy watching asked me if he jump line. Smiling I replied, “Of course, sometimes you have to
cross the line.” Smiling back that’s exactly what he did for about half an hour much to the delight of his mother. Forgetting to
reapply sunscreen while working is something I will not forget again. Leaving the work to vanish with time, what had become my
temporary space vanishes without a trace.

In June of 2008 I spent a month at the Brydcliffe Residency in Woodstock, NY. It was here I created my first large scale
installation “A Conversation With A Byrd On A Cliffe” along with a body of works on paper and my first short video which
combined video, writing, painting and performance. Again I worked at a grueling pace in a large private cottage studio. Within 20
minutes of arriving I’d set up the studio, set to work and did not stop. It had been a rainy month. nature was teeming with life and
brimming with sounds, life quietly in progress. There was a rock in the front yard I liked to go sit on and think. I started to work on
the video/painting piece. Using paint I made the initial marks on a clear 9’ x 12’ plastic tarp. Tacking it to the roof to hang in front
of the studio, the elements and time replied as rain diluted the marks, sun dried paint and periodic wind doubled and tripled the
marks at will. Over the course of about a week I sat in front of the work observing it, making a mark, letting the elements reply,
and jotting down words. Some of the other residents would come and sit with me for a moment, to observe with me and have a
chat. The painting seemed alive like it was breathing.  Creating a poem from the words written, I tacked it to a tree like a note. I
didn’t really have a way to edit the video then so the final piece was finished in my East Village studio about a month later. I
finished the installation 2 hours before the open studio
"Cellular Secrets Popping Sound", 2011, 52" x 52" china marker, light-fast wax pencil, pigments, oil on canvas. Associated poem: cellular secrets
popping sounds, words cracking bone bursting heart, tracing lines, colliding swirls, another pop surfaces, another tear falls into red and pink abyss
Live Wire, 2011, pigments, china markers on mylar, 22" x 34"
Wide Open, 2011, oil, pigment sticks, pigment, wax pencils light fast color pencils on canvas, 10' x 16'  
The In-Between Spaces, 2011, 3-dimentional drawing on lightbox, plastic line, mylar, pins, copper
phone wire, detail digitial photograph