Who is Louise?  
Artist statement  
And Why did she Leap?  
. . .  the story of an artist's beginning. . .
    ARTIST STATEMENT

ARTIST STATEMENT
Barbara Louise Bowling, Louise’s Leap Studios

Sewing cards. Remember them? In my first memory, I am on a boat with my dad,
who is fishing. I am three years old and threading bright yarn through holes in
equally bright cardboard with a blunt needle. A couple of years later, I find old
curtains in the basement, and play with them for hours, eventually figuring out how
to sew a seam (inside out!), and make gathers (big stitches, drawn tight).  I have
been thus driven for all of my remembered life.

To Make Things.

My recent work, The Primal series, examines our connection to that which is
fundamental to life on earth. Plants are the first step in the chain of sustenance . .
. transforming the energy of the sun to chemical energy which is foundation of all
life; human life being a small but potent piece of that puzzle.  Plants feed our
needy existence, providing not only nutrition, but aesthetically rich experiences for
all of our senses: sight, taste, touch, smell and sound. While we are literally and
viscerally connected to this messy cacophony of life, our civilized lives separate us
from it; obfuscating our interconnectedness in this complex, brutal beautiful whole.

Other recent work, including ‘Beholden’, is a contemplation of my life as a mother.
Part of a triad, this piece is a part of the Wordplay series. The hand-shaped
vessel holds (they “be holdin’”) fine silver beads with the birthstones of my children
and other creatures I have raised and lived with. Ultimately, these beings to whom I
have given so much of myself have proven that turnabout is fair play. . . I find
myself truly beholden to them for having demanded so much of me. My giving to
them proves a far greater gift to myself than I ever could have imagined.

My most recent work, Fully Fledged, is a reflection on contemporary post-
menopausal existence. For many, the passing through middle life is as profound,
and physically and emotionally upsetting, as adolescence once was. As middle-
aged women in a youth focused culture, we find ourselves bearing scars,
sequestered wounds and annoying lapses in body and mind. However these more
negative signs of aging are equaled in each of us by a growing wisdom, an
unprecedented sense of self-confidence and an all-things-are-possible feeling
that is hard to describe. We are not fledglings. . . .we are Fully Fledged . And
about time, I say.
Biography

    Barbara Louise Bowling was born in
    suburban Washington DC in 1954. Her
    father, John W. Bowling, was a mechanical
    engineer, photographer and sportsman.
    Her mother was a bridge-playing country
    club aficionado, as well as a self-described
    “homemaker”. This period of time was the
    midpoint of the baby boom after the
    Second World War, rife with all of the
    prejudice, opportunity, and tumult of that
    era.

Barbara was born with an innate desire to Make
Things, as well as a fascination with process. Her
youth was dominated by the piano, competitive
swimming and school. She proved competent,
though not extraordinary at any of these
pursuits.  An early interest in textiles led her to
learn to sew, knit, spin wool fiber, and weave. By
the end of high school, she had also taken every
art and woodworking class that was available.

While starting her college years as an Art major,
the reality of putting herself through school,
(subsequently supporting herself and her child)
inspired her to change her focus to Horticulture,
eventually receiving her BS in Horticulture (1979,
University of Maryland), MS (1981, Penn State
University) and PhD (1984, Ohio State
University). She became a professor of
Horticulture, specializing in berry crop
physiology, first at Rutgers University (1984-
1986), and then  at  Penn State University (1987-
2000), working for 15 years teaching,
researching and working in extension.  These
years of working in science resulted in her
developing a very linear and logical thought
process, as well as a profound love and respect
for plant life, where her favorite research areas
included examining the role of symbiotic fungi
with blueberry plants and their relatives.

Four events that would prove very significant her
life occurred during her college and early career
years. Three of those involved family. Beth
Marie, her first daughter, was born in 1977; she
met John F. Gardner in 1982 at Ohio State
University (they were married in 1985), and they
bore a second daughter, Sarah Ann, in 1986.
The last very significant event occurred during
her early undergraduate years, when she took
two enameling  and metalsmithing classes from
Professor Komelia Okim, at Montgomery College
in Rockville, Maryland. These classes had a
profound and a lasting effect on her thought
processes regarding Making Things, though she
would not venture into these media again for
decades.

After 15 years of working as a Horticulture
professor, Barbara's husband, John Gardner,
was offered a position at Boise State University
(BSU) in Idaho. As life-long East Coast dwellers,
this opportunity proved irresistible.  Barbara,
John, Sarah, along with their two dogs and a
hamster left central Pennsylvania in the summer
of 2000 to settle in Boise, where John was hired
as a senior professor in BSU's new College of
Engineering. After a great deal of introspection
and tooth-nashing, Barbara decided to pursue
her dream of becoming an artist, first enrolling as
a student at BSU and learning to draw, taking a
metalsmithing course to refresh her metal skills,
and attending workshops offered by the
Enamelist Society and various metalsmithing
schools to hone her technical skills.

It should be noted at this point that the skills
required for serious work in metals and
enameling are hard won. Many years of practice
are required before one can saw, solder and
design competently. The enameling process
presents a completely different set of challenges,
with levels of unpredictability varying with the
particular process.

Barbara started her work in cloisonné, a
traditional form of enameling. This work evolved
into a more contemporary style, and eventually
she incorporated etching into several of her
lines. The Primal line marked a new era for her
development, both as a production artist and as
a means of personal expression. She continues
to develop both as a maker of affordable jewelry
and as an artist, weaving words and concepts
into her small “canvases”.

Barbara’s 15 years as a professor of horticulture
are reflected in the plant forms and the natural
textures and flowing lines of her designs. Her
intellectual and emotion inspiration is first and
foremost plant life.  “Plants fill the world with
function and beauty simultaneously. No life could
BE without their primary existence, and yet they
live their lives of incomprehensible utility,
exquisite beauty and languid grace without
expectation of appreciation or recognition.”

    Good Growing.
    Barbara Louise Bowling
She drank from
a bottle called
"drink me"
And up she
grew so tall
She ate from a
place called "eat
me"
And down she
grew so small
And so she
grew while other
folks
Never tried
nothin' at all.

Shel Silverstein
If you're interested in seeing my
complete resume,
click here
Redefining Precious