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Believe Me (It’ll be Great)
These paintings evolved from the Trashquilt project. During the 2016 USA election, I started noticing the repetition of the words “Believe me” and “Trust me” as qualifiers. Usually, these words are followed by lies.
Believe Me (It’ll be Great) Oil, Ink and Thread on Paper 53 x 43 cm 2017 
Trashquilt Tête du Travers, acrylic, ink, cotton thread on aluminum coated paper, wood, cast iron, 61 x 51 x 9 cm, 2017 This piece was included in the Whitney Biennial in the Whitney Museum in NYC as part of Occupy Museums’ Debtfair project. 
Trust Me, Oil, Ink and Thread on Aluminized Paper 53 x 43 cm 2017 
Grace, Acrylic, Ink, Aluminized Paper & Thread 54 x 73 cm 2017 -
Trashquilt Tête du Travers
This series of large drawings was made surrounding the 2016 US election. The text, “Between the Darkness of the Sun and Moon, ” was written in March 2015, five days after a young pilot intentionally flew an airplane with 149 passengers into the French Alps.
I continued working on it in 2017 and began to add ink over the oil paintings that were printed from the ‘Trashquilt’ It’s a meditation on how one thing, person and event leaves a mark.
Trashquilt Print Tête du Travers, graphite, ink, oil paint on paper, 280 x 150 cm, 2016 
Trashquilt Tête du Travers (detail), graphite , ink and oil paint on paper, 262 x 150 cm, 2016 
Trashquilt Print, graphite on paper, 260 x 150 cm, 2016 
Trashquilt Print Tête du Travers 2, charcoal & ink on paper, 262 x 150 cm, 2016 
Trashquilt Print Tête du Travers 2 (detail), graphite, ink on paper, 262 x 150 cm, 2016 
Trashquilt Print 5, graphite on paper, 243 x 150 cm, 2016 
Trashquilt cotton thread, oil on trash, 249 x 147 cm, 2016 
Trashquilt (detail), cotton thread, oil on trash, 249 x 147 cm, 2016 
Trashquilt Tête du Travers 4, Oil and Ink on Paper, 275 x 150 cm, 2017 
Trashquilt Tête du Travers 3 Oil and Ink on Paper, 264 x 150 cm, 2017 -
Landing Vessels
Duet (detail), cast iron with copper, 66 x 87 x 56 cm (26 x 34 x 22 in) 2006 photo s smuda 
Duet, cast iron with copper, 66 x 87 x 56 cm (26 x 34 x 22 in) 2006 photo s smuda 
A Place to Land, cast iron 20 x 23 x 23 cm (8 x 9 x 9 in) 2005 
Tripod, cast bronze 13 x 14 x 17 cm (5 x 5.5 x 6.5 in) 2006 
Propel, cast iron 34 x 28 x 28 cm (17 x 11 x 11 in) 2006 
Homing Vessel, cast iron 28 x 34 x 18 cm ( 11 x 17 x 11 in) 2006 photo s smuda 
Mutable, cast bronze 23 x 23 x 23 cm (9 x 9 x 9 in) 2007 
Acorn Vessel, cast iron, 28 x 58 x 41 cm (11 x 58 x 16 in) 2010 I made these sculptures between 2003 and 2009, as I was learning the process of metal casting at artist residencies using piece molds made of resin bonded sand. For my patterns, I was using rubber balls, oil based clay, natural materials, direct carving and eventually separating the molds and building mother molds around them to contain the metal. I was interested in making thin castings which were fragile yet strong.
I was still studying modern dance and we practiced Rudolph Laban’s A Scales from his movement theory of Space Harmony. Kinesphere is a metaphor for the personal space around the body, Laban worked on a notation method for recording movement. I was looking to represent these ideas of pathways, levels and directions in sculpture. Although I had some sculpture as an undergraduate student, this was the beginning of my in depth study of three dimensional form. I was working to connect this to my understanding of movement I had been exploring in dance.
Two of these pieces were recently in an exhibition in Washington DC and are mentioned in the review in the Washington Post.
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First Line from Every Dream
I started mining my dream journals of 25 years in 2010. I began to type them out and then read them aloud into a recorder. I soon realized the first line usually either set the scene, or the cast of character. The written document is 20 pages single spaced.
I projected it as a looped video text in 2016 in my studio exhibition in Germany. It felt less invasive for me for a German audience to read as they didn’t know any of the characters in the dreams. I wrote it exactly as I found it in my journals, leaving first and sometimes last names attached. Later in my sound work I would turn the names into pronouns to make the work more universal.
The work is written about in this review (in English and German.)
At the opening, the piece was projected onto the musicians Alain and Philippe Wozniak as they played.
Jupiter by Philippe Wozniak Part 4 of 5 from Liminal Spaces
Alain Wozniak: Clarinet, Electonics
Philippe Wozniak: E Bass
ProjekTraum l’Atelier Glidden Wozniak
Felicia Glidden Open Studio
March 6, 2016Inspired by the research of Joachim Ernst Berendt Liminal Spaces uses frequencies calculated by the circulating time of the planets. An oscillator playing alongside the performance reproduces these frequencies. The melodies used are transcribed from traditional ceremonies of Native Americans from North-Central America.
Each movement describes another state of mind, the liminal space between dreams and real world.The working title for this piece was Last Night Grandma Helped Me Make My Bed.
Temporary studio installation with Wrapped Piller foam, cotton rope, and plaster – Last Night Grandma Helped Me Make My Bed wood and juniper needles – Cigarette Machine ; cast iron, steel and small gifts from friends Last Night Grandma Helped Me Make My Bed. This is the first sound piece. I layered the tracks to reflect the way memory can sometimes be muddled, partial and concurrent.
Here‘s a video where I used seven minutes of that soundtrack
Cloud Rust single channel video 7 minutes 2010
The dance improvisation of me in the library (4:12 – 5:25) was conceived, edited and developed by Bernhard Thomas Klein with a musical improvisation by Dorle Ferber, Bernhard Thomas Klein, Max Sharam, Alain Wozniak and photographed by Marcus Schweier at the residency Salem2salem in 2010.
