What happens if …blue lines sweep downward? …I make a lot of arbitrary dashes? … spray on some yellow? …scrub it all out? …or sew everything together?
By responding to a progression of self-imposed queries, an unpredictable visual landscape emerges, one that is influenced by my interest in the natural world, micro to macroscopic. I like water, plants, wind, dirt, patterning, repetition. I am curious about the connections of organisms. With this in mind, I stay reactive and process-oriented, focusing on parts or fragments or layers, always multiplying. I knock off my glasses, pretend myopia, and for a time, actively ignore the whole. With fingers and tools and a little eyesight, I explore a shape, a color, a texture, a pattern. To increase variety and invention, I alter the temperature of my emotions, change the brush or tool, the speed or size of the mark. Moves are purposely haphazard. I make mistakes in order to learn the parameters of them. Other times, I am compulsively corrective and precise. The maneuvers of a housepainter and an alchemist co-exist or conflict. Each action has the potential to necessitate a curative more potent than one that might have been contrived through plan.
Giersbach has completed four permanent public art commissions, including a large mosaic for the New York City subway system. She also makes paintings, drawings and temporary site specific paintings that have been shown at galleries and museums in the US, Mexico and Europe. Venues have included Roebling Hall, Deitch Projects, Wave Hill, White Columns, Museo Rufino Tamayo, and the Brooklyn Museum of Art. She has been the recipient of awards including a Pollock Krasner Foundation Fellowship and a New York Foundation for the Arts Fellowship in Painting (NYFA). She was educated at Vassar College (BA), Rutgers University (MFA), and the Skowhegan School of Painting and Sculpture.