NEWS
MARCH 2024 | REYNOLDS GALLERY, RICHMOND, VIRGINIA
I am honored to be part of a group show, Making Waves, at the Reynolds Gallery in Richmond. March 1-April 19. “Reynolds Gallery is pleased to announce the opening of Making Waves, a group exhibition of recent work by Hampton Boyer, Roberta Gentry, Erika Huddleston, Meg Lipke, Bailey Santaguida, Amanda Valdez & SARUNGANO WEMESO (Tendai Mupita).”
JULY 2023 | HEALING LANDSCAPE, BIRMINGHAM, ALABAMA
Over the summer I have been painting Jemison Park or as it is known locally: “The Trail”– in Birmingham, Alabama. Working onsite in the 54 acre linear park in the floodplain of Shades Creek, a tributary of the Cahaba River and then flowing to the Alabama River to the Gulf of Mexico, I have painted several oil paintings up and down the length in various locations. Designed by Warren Manning in 1921-1926 and also previously by his mentors, the Olmsted Brothers, the park is a deciduous forest in the middle of a 1920’s suburb, Mountain Brook, designed to cascade down the side of a mountain called “Red Mountain” which also hosted underground coal mining in the late 19th and first half of the 20th century. The park will undergo a new restoration with a reconstructed trail and restored meadow plantings. The work began on Saturday, June 22, shortly after I finished the majority of the works. Healing Landscape, the show title, refers to the upcoming built interventions into the park’s ecology and programming as well as the well-understood mental benefits that “urban wilderness” parks provide to park-goers. As well, the history of the civil rights movement in Birmingham seems meshed into the new parks downtown and the visible, uplifting efforts at urban revitalization and reconciliation. Birmingham is also a healing city of doctors centered around the University of Alabama at Birmingham Medical College and Hospitals. My doctor friend from college, Mary Halsey Maddox, invited me to come to Mountain Brook and my college nurse friend, Bragan Petrey, is hosting the show at her home. Thank you, friends! I am really proud of these paintings of Jemison Park and am excited to show them.
Please join me to view the works on July 20, 2023
9 am – 6:30 pm
12 Norman Drive, Mountain Brook, Alabama
FEBRUARY 2023 | CROSSVINE III, DALLAS, TEXAS
A new painting commissioned for a client. Crossvine III, oil on canvas, 48×60 in, 2023. Recording the crossvine climbing up the fence dividing my house from my neighbors’ house. During Covid, I began painting at home in the backyard because I couldn’t get out and paint elsewhere. During lockdown I was stuck at home and it wasn’t until July 2020 that I finally left home to paint a commission– in Boerne, Texas. I was, I believe, the only guest in the hotel! It was an historic limestone block hotel from the 19th c and I was wandering around in a mask…it felt nerve-wracking and I painted outside all day along the Guadalupe River. When I returned to Dallas, I kept painting these “Neighbor Paintings”. I am not tired of the series…I like the meditation on fences and boundaries and the hurt that they cause but also the privacy that they confer. The lively vine scampers up the fence erected to divide. What is the aspect of reconciliation, forgiveness, open heartedness that we need to counteract our walls? When called to make a piece in April 2021, I decided to paint these vines. I then painted two additional large pieces in spring 2022 for “Restoration”, my solo show at Cluley Projects. This piece is from the same series.
JANUARY 2023 | MOONLIGHT, FT WORTH, TEXAS
Details of new painting made for the show at Artspace 111 in Ft Worth gallery. They invited gallery artists to paint pieces for a show titled “Nightscapes”. I loved the name! I painted this piece: Crossvine, Trumpet Vine II [Moonlight], 6×7 ft, oil on canvas, 2022.
DECEMBER 2022 | UT SOUTHWESTERN MEDICAL CENTER, HAROLD C. SIMMONS COMPREHENSIVE CANCER WING, DALLAS, TEXAS
I am thrilled to have a painting hanging in the Simmons Cancer Wing as part of their permanent collection. This came about through Cluley Projects and I loved painting the piece, thinking of healing and light for the patients, doctors, and nurses. It is painted in my backyard of a Texas Crossvine vine growing up a perimeter fence dividing my garden from my neighbor’s garden.
Crossvine II, oil on canvas, 60×72 in, 2022
OCTOBER 2022 | KIPS BAY SHOWHOUSE, DALLAS, TEXAS
Jessica Davis of Nest Studio and Atelier Davis in Atlanta commissioned a piece to hang in her showhouse design for the Kips Bay Showhouse in Dallas.
Photos: Stephen Karlisch
Painting: Crossvine Trumpet Vine II, 72×84 in (6×7 ft), oil on canvas, 2022
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MARCH- APRIL 2022 | CLULEY PROJECTS, DALLAS, TEXAS
Thank you to Cluley Projects for inviting me for a solo show this spring — “Restoration”. The oil paintings were painted at my own home, onsite in the backyard and inside the house. For the first time, I painted indoors and used a drawing from another place to enlarge with a projector into the canvases. I expanded the drawing of a yaupon holly drawn at Highland Park Town Hall, in the neighborhood where I grew up, through a projector — thus the series of six is called Expansion I-VI. The other two large paintings were painted in the garden and record two existing vines– “pass-along” plants from previous owners– a Crossvine and a Carolina Jessamine. Accompanying the paintings were artifacts retrieved from the house which is a 1936 house designed by Texas regionalist architect, Charles Stevens Dilbeck that I restored during Covid and before. The “Restoration” refers to the emergence from Covid, repairing fractured friendships, the house restoration, and Eastertime.
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JANUARY – MAY 2022 | BRIT, FORT WORTH, TEXAS
Erin Starr White with BRIT [Botanical Research Institute of Texas] called and invited me to show work in the gallery. She curated the show and asked me to select a location around the Ft Worth Botanic Gardens to paint. After a two hour site walk with Erin, I chose to paint the prairie behind BRIT– a two acre prairie that was formerly a concrete parking lot. After the LEED Platinum building was built in 2010, the parking lot was removed and rich dirt was brought in from a board member’s ranch to create a medium for building the prairie. Grasses were sown and in January 2021, a prescribed burn was held– with amazing photos of the charred black soot prairie being a primary inspiration for my work. From the beginning of October to the middle of November, I moved to Fort Worth for a residency, sponsored by Artspace 111. Thank you to Marjorie and Ariel and Natalie at Artspace for believing in this project! There are five paintings — and the timing of the residency meant that the prairie turned from summer season to fall season– the seasonal succession of the sunflowers and grasses is recorded in the paintings.
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OCTOBER 2021 | DALLAS ART FAIR
Thanks to Cluley Projects for including my painting in the Dallas Art Fair. Due to COVID, the fair was moved from spring 2021 to the fall and I am delighted to be included!
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JULY- AUGUST 2021 | CLULEY PROJECTS GALLERY, DALLAS TEXAS
The group show “WILD” included my painting “Landscape Recording Static/Dynamic: Turtle Creek at Normandy Ave I”. Thank you to Nell Potasnik-Langford for curating my piece into the show and thank you to Erin Cluley for having me. I am thrilled to be included amongst so many great artists. The painting was painted onsite, outdoors along Turtle Creek in Dallas and was painted at 1:1 scale, as usual. I was painting at my parents’ house where I grew up so the piece records the roots of a large tree growing out the creek bank– supporting the bank with its roots– and reaching up to the sky. The rain came during the two weeks of drawing and painting the piece, thus once all of my paints were swept away as I had left them on the flat creek bank overnight. I spotted a pair of torn boxer shorts in the mud and there was the frequent scent of marijuana floating down the creek around the time of high school afternoon release. My parents visited me down at the creek during the painting process.
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APRIL 2021 | ALL SAINTS CHURCH IN AUSTIN, TEXAS
I was invited to have a show in the gallery at the church for Easter weekend. Every year, All Saints curates on show to culminate on Good Friday. Then, the church curators stay late after the Friday night service to take down that show and they come in on Saturday to hang an entirely new show to open on Sunday morning for Easter. The first show is so different from the latter and I was thrilled to be asked by gallery curator, Sonya Menges. And by David Lutes, head of the Arts Ministry. Phaedra Taylor was the other artist in the show, with her encaustic landscapes.
The piece was painted of two climbing vines in my backyard and was the biggest painting to date that I’ve ever painted. It was gestated in reading Jacques Maritain “The Peasant of the Garonne”. For over four years the book sat on the bookshelf in my studio– I have no idea where it came from– I picked it up from somewhere. During the pandemic lockdown of 2020, I brought it to my apartment and had time to start reading it. This painting is a celebration, an ebenezer of the end of lockdown that started around the holidays and then by April when Easter occurred this year– coronavirus restrictions were really being lifted– restaurants were open, the Texas mask mandate was dropped.
Eastertide: Carolina Jessamine and Crossvine I
69 in. x 80 in., oil and pigment on canvas, 2021
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May-December 2020 | COMMISSION IN PROCESS
Landscape Recording Static/Dynamic: Studio I [detail in process]
48 in. x 60 in., oil on canvas, 2020
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SEPTEMBER 2019 | VERMONT STUDIO CENTER RESIDENCY
In September, I traveled to Johnson, Vermont for a six week painting residency. My studio was on the second floor of a restored 19th century building and I thoroughly enjoyed meeting my studio neighbor-next-door from Puerto Rico and the many artists from all over the world. Particularly, it was wonderful to be amongst the writers-in-residence. Vermont Studio Center
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July 2019 | NEW COMMISSION IN DALLAS
I enjoyed painting this new painting Landscape Recording Static/Dynamic: Turtle Creekbelt I this summer. I painted the piece over several sittings in the greenbelt near Reverchon Park. Thank you to my clients!
Landscape Recording Static/Dynamic: Turtle Creek Greenbelt I
48 in. x 60 in., oil on canvas, 2019
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January 2019 | AUSTIN CHRONICLE: POST-APOCALYPTIC HARVEST | AUSTIN, TEXAS
Thank you, Wayne Alan Brenner, for writing a review of the show at Atelier 1205 in Austin, Texas. Loved being part of this show curated by Saul Jerome San Juan with artists Tammy West and Amy Scofield!
“Huddleston’s oils on canvas and rougher materials capture the sort of viny, arboreal tangles that might proliferate during nature’s resurgence after human achievement has been sundered. That many of her realist depictions of colorful botanical chaos are actually plein air renderings from New York City’s Central Park, well, that just makes the apocalypse conceit ring more true, doesn’t it? Aren’t the jungled ruins of our biggest metropolitan hubs usually what’s depicted when the end of civilization comes a-calling?”
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November 2018 | GALLERY SHOAL CREEK: THE RAMBLE: A TRAVELLER’S OBSERVATIONS BASED UPON A JOURNEY AND INVESTIGATION
November 30, 2018 – January 12, 2019
Artist Talk: Dec 8 at 4 pm
Project Statement: These paintings were made between July and November 2018. In a reversal of Frederick Law Olmsted’s “Journey through Texas” in which the East Coast landscape architect travelled to Texas in 1856-57 to report and write a book on the state, I left Texas and travelled up to New York City. I came to record Olmsted’s Central Park for which he won the design commission in 1858. In particular, I came to explore his 36 acre Ramble— which he called his “wooded garden”. Painting onsite, I collected data from the people I met as I worked. Having lived in New York for six years, I walked through the Ramble then and the mystery there led to my ongoing series in Texas of painting in public parks in cities which have areas of “wilderness”.
This site-specific investigation is the end of something, in a way. My paintings record aspects of parks that exist but which cannot be seen on a map.
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October 4-6 2018 | SHORT FILM The Ramble I | COLLABORATION WITH ARTIST KATHERINE RAY (www.katherinerayart.com)
Katherine met me in New York for about three days to shoot footage of walking through the city with my canvas from the Upper West Side to Central Park to paint The Ramble I. Here is an interview where I spoke with Katherine about some of her process in making the film:
Erika: How did you learn filmmaking?
Katherine: When I was getting my undergrad as a Studio Art Major at the University of Texas in Austin, I avoided taking this one required film making class, because I didn’t enjoy using computers and technology when creating as much as physical materials like paint and charcoal. I took the video class my senior year, and learned the basics of creating film, which is where I learned filmmaking.
Erika: Describe the filmmaking process of The Ramble I film.
Katherine: I took as much footage as I can, knowing I would only use about 1 to 3 seconds from each clip. Where it all comes together is the video editing and less from actually shooting the footage. I relate it to making a painting, you add small dabs from this color and from that color, and all the little parts come together to form the whole piece.
Erika: Any big surprises?
Katherine: Not as much. The last movie I made was from that class in college, so I took the techniques I learned from that film and incorporated it into this video. The most surprise I experienced was running into a drummer on a bridge in The Ramble in Central Park, and seeing how I could use his drumming music as the audio for the last half of the video.
Erika: What was your favorite part of the film?
Katherine: Experiencing the chaos of shooting Erika in New York, and watching another painter create a painting. As a painter myself, I have never gotten the time to sit with another artist an observe her painting process for three straight days. It was a rare and incredible experience. Also, having Erika stopped in the middle of New York for people to ask her for directions and not even question why she was carrying a 4 by 5 foot canvas was much of a shock to me how normal it was for them to see such a sight!
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September 2018 | NEW SERIES: THE RAMBLE, CENTRAL PARK | NEW YORK, NEW YORK
In July, I came to NYC, a home of mine for six years, at one point. I am painting a new series near 79th St. and Central Park West in the “wild garden” of the park. Frederick Law Olmsted designed this 36 acre area around 1860 and to step inside it is to disappear into an illusory primordial forest. A few city rats are also inside! These paintings will be first exhibited at E.A.S.T. in Austin, Texas at Atelier 1205 with an opening party on Friday, Nov 16th. E.A.S.T. Photo by Nanetta Garcia, visiting from Puerto RIco.
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September 2018 | THE AMERICAN SCHOLAR
Thank you to Noelani Kirschner for this profile.
Portrait of the Artist: Erika Huddleston, Meditative Studies
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August 2018 | PANEL | WOMEN & THEIR WORK GALLERY | AUSTIN, TEXAS
Such a great conversation about Painting for “Talkabout” in conjunction with Meg Aubrey’s show. To be on the panel with all painters and with so many painters in the audience was a treat. Women & Their Work
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March 2018 | NEW STUDIO! | DALLAS, TEXAS
This spring I am sharing a studio space in Dallas. Come by 122 Glass Street if you are in the area! Open by appointment. I would love to see you.
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September 2017 | THE ART CENTER OF WACO | WACO, TEXAS
I’ve been in Waco painting since August and am pleased to announce a Nov. 9 opening for a show of oil paintings painted in spots along Waco Creek. Waco Creek runs to the Brazos River and includes the watershed for most of downtown and central Waco. The mouth of the creek is at the Baylor campus after the creek runs along rail lines, commercial districts, residential enclaves, and parks. The water hides near the former Mrs. Baird’s Bakery, an abandoned cast iron factory, and historic Cotton Palace Park. I’ve thought about calling the exhibit the very twee “Hide and Seek Waco Creek”! Here is the link to the exhibit information. Thank you Meg Gilbert, director of The Art Center of Waco. I look forward to the opening.
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June 2017
Thank you to The Gospel Coalition and writer Bethany Jenkins for this interview.
“How Art Can Inspire Us to Fear God”
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May 2017
Thank you to Texas Monthly for including me on your list.
“10 Texas Artist to Collect Now”
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November 2016 | DALLAS/ AUSTIN
I am excited to be participating in EAST 2016 in Austin, Texas. The East Austin Studio Tour is one of the best parts of Austin, I think. Please come by to see my new work as well as the work of several other artists and Bercy Chen Studio’s architectural models at 1111 E. 11th St., Suite 200 on Nov. 12-13 & 19-20.
“Branch” is a series of functional stainless steel benches suitable for outdoors and indoors. The folded metal forms a breezy, delicate shelf that allows the wind to whip through and gives a feeling of sitting on a swinging “branch” of a tree… or a folded-up drawing. The piece is meant to engage people in the experience of climbing a tree and finding a sturdy branch and sitting up in the wind.”
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May 2016 | TOKALON PARK, DALLAS
This past year and spring have been filled with commissioned works. Traveling to the sites has taken me to Hutton Branch Creek in Denton painting cacti, Hackberry Creek in Dallas, Shoal Creek in Austin, deep East Texas, Wyoming, West Texas, Brenham, and Waco to paint Cameron Park, the largest city park in Texas. Below is a new painting from this spring in Tokalon Park just as the Queen Anne’s Lace and purple thistle were beginning to bloom. Tokalon Park is in the center of Dallas, three miles from downtown.
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August 2015 | HACKBERRY CREEK IN HIGHLAND PARK, DALLAS
While painting in Hackberry Creek in April, May, June, and July, I was sitting down in the creek corridor near the 1922 Highland Park Town Hall which was the first section developed in the towns of Highland Park and University Park. The neighborhood developers hired the design of Beverly Hills, California to design curving streets around the merging of Turtle Creek and its tributary, Hackberry Creek in Davis Park. The first painting, Landscape Recording Static/Dynamic: Hackberry Creek I, is a commission by a family whose grown children spent time wading in the creek and they now live in Austin. The painting of Dallas hangs in Austin and is a recording of the place where the children loved and grew up.
The artwork depicts exposed tree roots lacing in and out of the creek bank. These roots of a medium sized tree are holding up the earthen creek bank and the tree’s branches and leaves are giving refreshing sunlit shade above. In May 2015, major floods in the Trinity River watershed caused Hackberry Creek to rise up to ten feet. All of the storm sewers of the neighborhood run to the creek and the rising waters flow to the Trinity River and out to the Gulf of Mexico. The creek bank held strong, supported by this resilient, deep rooted tree. Time, history, sense of place, change…this series is going to record the changes onsite within an historic residential neighborhood that began as a real estate development envisioned as a garden suburb. I usually paint “urban wilderness” that is still in a process of being turned into a park– such as the Trinity River– or which is low-maintenance– such as a Cameron Park. Thus, it is incredible to step into the creek corridor within an urbane neighborhood such as Highland Park with its endless green lawns.
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August 2014 | SHOW AT GALLERY SHOAL CREEK, AUSTIN
What an incredible summer/fall…beginning in June. August 15 was the opening night of the show of my new paintings created over June, July, and August. Painted in Shoal Creek Greenbelt at 9th St. in downtown Austin, the cycle of four canvases were painted life-size and recorded the eroded roots of a cedar elm tree holding in the creek bank. I enjoyed the painting in the heat and recored videos of anyone who stopped to talk. But, really, the days were just me, the water, the minnows, turtles, and dragonflies…
Gallery Shoal Creek commissioned the cycle and I chose to paint the pieces next to Duncan Park after lots of site walks. The other artist showing work was Karina Hean from Santa Fe who works in monotypes to portray landscapes of her imagination.
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9 mos. 2013-2014 | ACTIVATING VACANCY
Spanning nine months from October 2013 to June 2014, the Activating Vacancy initiative http://activatingvacancy.bcworkshop.org worked to enliven an historic neighborhood in Dallas, Texas. I was honored to be selected by the jury as one of ten artists commissioned to create six temporary installation artpieces in the neighborhood. With a grant from the National Endowment of the Arts as well as funding from other private donors, the initiative involved community residents throughout the design and imagining process. There were lots of cookouts and new friends made. I was involved in two collaborative artworks: “Story Corners” and “Ghostbridges” and a solo installation called “Bird Bridge” which was in an abandoned city right-of-way within the heart of the Tenth Street neighborhood. Dealing with sense of place and time, the piece used hardware store birdseed and metal building supplies to construct edible sculptures on armatures that were eaten away slowly as performance art by resident birds in the urban wilderness. bcWORKSHOP produced and curated the initiative.
Listed on the National Register of Historic Places yet having fallen on hard times since its heyday in the 1930’s and 1940’s, the Freedman’s Town “Tenth Street Historic District” struggles with vagrants, empty streets, lack of basic retail, poor public maintenance, and the closure of its beloved public elementary school. Abandoned clapboard shotgun cottages from the turn of the century are being demolished by the city to fight crime– thus destroying the special built fabric that entitled the neighborhood to become a historic district.
Thanks to our amazing leads at bcWORKSHOP: Thomas Simpson, Isaac Cohen, Evan Todtz, and Mark Lea.
Bird Bridge and neighborhood kids who brought their drawings to our curated art show in a shipping container.
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2013 | SHANNON BOWERS DESIGNS SOLO SHOW
Exciting! Orientations: Urban Wilderness in the Trinity River Sump at Shannon Bowers Design Studio was a great success! It ran from September 12, 2013 to November 7, 2013! Ten paintings and three drawings were completed on site in the Trinity River in Dallas, Texas next to downtown. Recording temporal aspects of the site, the work exists as a visual document of the river’s urban watershed infrastructure from July and August 2013. The opening party was wonderful! Thank you to Shannon Bowers for curating the show, and to Lendsay Costello for logistics for gallery support. Thanks to friends and family for coming out. Thanks to purchasers, I am so appreciative!
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NEW WORK / TWO EDITIONS OF 25 LITHOGRAPHS
Shoal Creek I + Shoal Creek II
Drawn, printed, framed in Austin, Texas
I am excited to present two new editions of lithographs: Shoal Creek I and Shoal Creek II. Drawn outdoors in Austin’s urban Shoal Creek Greenbelt near 24th St., these two lithographs are in the same series of work recording Shoal Creek as the paintings featured in a Tribeza profile. These lithographs are drawn onsite by the creek in the same “urban wilderness” as the paintings but since I do not do preparatory drawings for my paintings, these prints allow the handdrawn linework to remain visible without paint. They record change in landscape processes in an urban setting– depicting the unique assemblages of sticks and branches carried by past floodwaters of Shoal Creek.
Shoal Creek I Shoal Creek II
Printed through Flatbed Press, Austin’s renowned print shop located on East MLK Blvd, deep in East Austin’s art community, these prints show all the marks of handprinting. The lithograph process begins with the drawing. Using a wax crayon, the lines are drawn on an aluminum plate– in this case while sitting outdoors at Shoal Creek at 24th St. The second step is to take the plate to the printshop and douse it in a series of successive washes to ready it for ink. Two printers work in tandem to roll the ink on the plate and rag off the excess. Then a sheet of paper is laid precisely on top of the plate and the stack is carefully run through the press.
Two printers, Tom Drueker and Margaret Simpson, edition the prints
The prints are framed in custom white painted poplar frames built by Derek Mulch of Green Summit Studio in Austin, Texas. Each print is floated against a white matt board and titled either Shoal Creek I or Shoal Creek II, signed by the artist and numbered with the unique edition number.
Framed 18″x24″ lithographs on wall, a pair Cropped view showing title of piece
DETAILS:
18″x24″ framed
16″x20″ paper size
12″x15″ image size
Fabriano Artistico Traditional White paper
Unique print number in the lower left corner of the paper
Signed Erika Huddleston at lower right corner of the paper
Titled Shoal Creek I or Shoal Creek II
Flatbed chop in the lower right corner
Each comes with a certificate of authenticity, signed by the artist and the printshop, Flatbed Press
Purchase as a pair or separately, framed or unframed
Please go to Big Cartel website to purchase the prints online:
http://www.erikahuddleston.bigcartel.com
Studio cat and bobble head Queen Elizabeth
It was such a great experience being in the room where decades of art has been created. It was in the air. So creative and dedicated. And fun.
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Thanks to Tribeza Magazine for the profile! Click on the logo to read the article:
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The show at Flatbed (September 2012) in Austin went so well. It was a two week run extended. Here are shots from the opening party with black and white film photos by my friend’s husband, George Gonzalez– a local Austin photographer who is so so talented and did these as a gift to me. Thanks to Katherine Brimberry and Tina Weitz of Flatbed. www.flatbedpress.com
