June 2003
Betty Collings
Columbus, OH
B@BettyCollings.com
http://www.bettycollings.com
Betty Collings was born in New Zealand and trained as teacher. Emigrated to the U.S. with husband and infants in 1962. Self taught ceramics. 1964 serious studio work begins followed by co-founding co-operative gallery for craft. Moved to Ohio in 1966. Joined The Ohio State University (OSU) College of Fine Arts as Continuing Education student in l966, graduating BFA then MFA in 1974.
Upon graduation, invited to direct what became The OSU Gallery of Fine Art, initiated a program of cutting edge contemporary art and established OSU's Contemporary Collection while pursuing extensive studio work with associated exhibits. In 1981 began decade of freelance work including curating exhibitions on behalf of Wright State University, Bard College and University of Virginia. Also writing for Dialogue and Arts Magazine. Subsequent travel to The People's Republic of China (PRC) and New Zealand lecturing on Contemporary Art and presenting solo exhibition in Kiev, Ukraine. Becoming Director of TAO programs, able to initiate international exchanges of artists and artwork from both PRC and Ukraine, funded by the Ohio Arts Council and participating Universities. Most recently curated and managed major permanent installation of Tokyo artist, Akio Hizume's "Democracy Steps" in Ohio's Hocking Hills State Park. Citations received by TAO and by Collings from the Ohio Department of Natural Resources for whom this appropriately sited artwork was a new and rewarding experience. Present concentration is on developing selected inflatable images into bronze and on painting.
ARTIST STATEMENT
Art, for me, is a procedural, empirical and experimental process responding to expressive compulsion. Early years as a solitary child on a remote farm, attending a one-room school with limited resources, figuring things out for myself, established a life-long personal method for which Conceptual Art, especially the emphasis on process, and subsequently Systems seemed uniquely appropriate. As a sculptor, previous study of landforms, ceramics and figurative art, directed me towards the, then unfashionable, curvilinear, biomorphic forms, made from inexpensive, flexible, vinyl. This method permitted maximum experimentation, and the creation of large numbers of forms without incurring storage problems. It is important that, when inflated, these soft forms have a life-like presence. It is also important that structures are found, not imposed.
