Canaries, 2018. Coal, Construction toys, and scrub brushes.
Canaries is part cautionary allegory on how we interact with the environment, part exploration on how “play” teaches us how to think about the world. Canaries was inspired by the oxymoron of clean coal rhetoric paired with watching children play gleefully at industries that are major players in the destruction of the environment and our health. Continue reading Canaries→
Kill the Indian, Save the Man, 2017 Vinyl, thermochromic ink, charting tape, astro turf, and laser-cut acrylic.
This artwork can be touched. The black bars are coated in ink that turns translucent through body heat. The piece depicts three systems of state-sponsored cultural genocide: Indian Removal Policy, a system that displaced communities from traditional lands onto ever shrinking reservations. With each push of westward expansion, there was a corresponding decimation of native populations. The mass slaughter of the bison, which was endorsed by the US Army, who’s Generals routinely led state sponsored hunting excursions with the express purpose of annihilating the bison under the motto “Kill every buffalo you can! Every buffalo dead is an Indian gone.” And Indian Boarding Schools, Continue reading Kill the Indian, Save the Man- Borderlands→
Pouring in as a coiling nest, this sea of oil depicts black snakes flowing in a progression of life-scale petroleum-based products transitioning into species most affected by oil spills. The artworks scale and implied motion amplify the impression of being drown in an ocean filled with our necessities, indulgences, and consequences. Continue reading Black Snake Rising→
Micro Spill, 2016 Acrylic, cement, and astro turf in a snow globe. 7”x7”x11”
Edition of 3.
Created in support of the NODAPL Standing Rock movement, this artwork is a reminder of the power we hold in our hands over the environment. When flipped, this miniature cross section of the Dakota Access Pipeline will “leak” black oil (glitter) mucking the globe. Please shake gently. Continue reading Micro Spill→
Comment Burst, 2017 Plastic, vinyl, paper, and confetti. 12’x6’x4’
Comment Burst looks at comment culture as a storm cloud that you willingly dump on yourself. It would have confetti in the shape of letters that deconstruct hate speech / aggressive ignorance you often find in comments sections on news/social media sites. Continue reading Comment Burst→
Introduction by Amanda Donnan
[Excerpt]For AND NOT OR, Feddersen is planning vinyl mural entitled Manifest Signs IV, which draws on imagery and themes that recur throughout Feddersen’s recent artworks. The mural, Continue reading Manifest Signs IV→
Kill the Indian, Save the Man, 2017 Vinyl, Thermochromic Ink, charting tape. 16’x9’
This artwork is a survey of Indian Boarding Schools Operating from 1850-2017. The map appears in a censored state, with black ink obscuring the content. This special ink can be made transparent using the heat of touch. The viewer is encouraged to touch the artwork to reveal details obscured at first glance. Continue reading Kill the Indian, Save the Man→
Manifest Signs, Triptych 2017 Laser cut acrylic and vinyl. 40”x40”x 1.5” per panel
Each panel of this triptych portrays a “sign” that explores an ongoing effect of Manifest Destiny, the belief that Anglo expansion across the continent was destined by the Christian God. In the first panel Continue reading Manifest Signs→
The Happenings Kiosk began as a Call for Submissions, directing the viewer via QR code to a submission form to contribute text and images based on the prompts: What Happened? and What Will Happen? Inspired by the words, ideas and pictures submitted, The Happenings Kiosk was transformed Continue reading Happenings→
Resistance, 2016 RYAN! Feddersen: Resistance was the first in a series of solo exhibitions at the Missoula Art Museum that invite indigenous artists to make and show work at the museum through the generous support of the Andy Warhol Foundation for the Visual Arts.
A wire-framed giantess sits reclining on stairs within the Maker Faire participants’ reach. Using the open grid and the wire, the figure relies on the audience’s participation to transform from her ethereal outline to a colorful dense figure through the weaving of colorful flagging tape by audience members. Continue reading Reclining Figure→
White Out, 2016 Chalk, vinyl Stencils. Dimensions variable.
White Out is a temporary artistic intervention on a street-side building at Delridge Playfield. Working with the concept of erasure and reemergence, the artwork will change and disintegrate throughout the installation. The artwork’s transformation is an illustration of the rapidly changing neighborhood, and a symbol of the resilience of the Delridge community. Continue reading White Out→
Based on the mouth of the Skagit River, this sprawling image of a metaphorical river forms a unifying theme that describes how artistic movements build; each strand a part of continuity and a constantly changing entity formed through a multiplicity of views. Continue reading Skyriver→
Coyote Now: Bones, 2016 Ink on board paper and cast crayon. 6” x 0.5” x 6.25” Edition of 16
Presented as a set of eight crayons cast as colorful, yet realistic replicas of Coyote bones, the piece combines the recognizable tools of creativity with plateau lore. The only way to truly tell if Coyote’s adventure is at its end- is by his death, and conversely, each new saga begins with his resurrection. Continue reading Coyote Now: Bones→
The Dozen, 2016 Wax (cast crayon) and cast paper. 14” x 14” x 4”
Edition of 6
Oysters have been found across the entirety of the continent, regardless of proximity to water, due to the robust indigenous trade of commodities and crafts. Beyond the beauty of an oyster’s shell, their nature has provided rich metaphorical inspiration, representing opportunity, wealth, challenge, and fertility. Continue reading The Dozen→
Coyote Now: Connecting with Nature, 2016 Marker on bristol board. 44” x 28”
Coyote Now is in an invitation to engage with imaginative storytelling through the assertion that the Trickster, Coyote, has been a continuous player in both historical and everyday events. In this scene, Connecting with Nature, Coyote is taking a break from his busy modern life and enjoying a scenic view while camping. Continue reading Coyote Now: Connecting with Nature→
Disconnected Towers, 2015 Wood, conduit, acrylic and led. Dimensions variable. Edition of 9 unique towers.
In a city consumed by rampant redevelopment, even once innocuous construction elements can become ominous signifiers. In Disconnected Towers, temporary power posts used to tie-off electricity in the demolition and construction of homes, are re-imagined as beacons that portend gentrification and scaffolds that uphold societal ideology and duplicity. Continue reading Disconnected Towers→
Blade Descending Pedestal, 2011 Steel and altered pedestal. 50” x 24” x 24”
Blade Descending Pedestal is a playful, but sharp critique of object driven sculptural practice. The blades, while themselves evocative of the fetishized “object” created by the hand of the artist with the exhibition of craftsmanship and mastery of material, are shown cutting into the pedestal. Continue reading Blade Descending Pedestal→
Coyote Now, 2015 Ink on board and cast crayon. 7’ x 28’
A hands-on art activity in Tacoma Art Museum studio during the 6th Annual Northwest Native Celebration. The project is an invitation to think about the trickster, Coyote, as an active player in contemporary events. The artwork explores Coyote’s role in the creation of the space needle, epic sinkholes, even the root cause of global warming, and sets the stage for the audience to create a few of their own as part of this large collaborative drawing & coloring installation. Continue reading Coyote Now→
900*Horses, 2015 Pulverized chalk pastel based paint, 2000sqft. Temporary.
900* Horses was a response to the difference between a monument and a memorial. While they both stand as marks of remembrance, they often represent divergent messages. Monuments are symbols of power; they celebrate and reinforce the primacy of a political or historical viewpoint. Continue reading 900* Horses→
A Clear Mind is an imagined template for mediation or brainstorming and a commentary on the complexity and interconnectedness in the way we conceptualize our ideas and viewpoints. Continue reading A Clear Mind→
Patrons, artists, and strangers alike were invited to a wholly participatory forum on personal expression in public spaces. Participants were provided drawing tools and submission cards to generate contributions of “graffiti.” Submission cards were collected, documented, and transposed into a temporary installation that saturated the space the week following the event. Continue reading Tag You’re It→
Bumber by Number Mural, 2011 Digital prints, cast crayon and cast paper. 8’ x 24’
Playing on the art historical references in traditional paint by numbers, Bumber by Number was an interactive mural and homage to Edouard Manet’s “Le Dejeuner sue L’Herbe,” (Luncheon on the Grass.) Set as a stage the audience was invited to step into this modified recreation of one of art history’s most famous rejected artworks Continue reading Bumber by Number→
An edition of 50 cast busts of Nellie Cornish were self-produced and made available to artists affiliated with the college as blanks. Each effigy serving as a template to express the multitude of creative voices.
Creative Feast, 2010 Digital prints, cast crayon and cast paper. Dimensions variable.
As the viewer enters the space the environment transforms from a modern interior into a life-size color by number installation. The imagery teeters between an idealistic garden and a more realistic representation of what the undeveloped landscape may have looked like sans development. Continue reading Creative Feast→
A Little Color in the White House 2009 Sharpie on paper & cast crayon. 12’ x 17’ x 12’
A Little Color in the White House is intended to be an open critique of the precarious state of our political and economic standpoint. While the location (state dining room) is a place of power, grandeur, and exclusivity, the space is entirely illusionistic. No matter how detailed and intricate, the suspension of disbelief is fleeting; it remains a thinly veiled artifice. Continue reading A Little Color in the White House→