click slide to view detail image

EDUCATION

1998 MFA: Sculpture. Central Washington University. Ellensburg, WA 1995 BFA: Sculpture. Sonoma State University. Rohnert Park, CA




Solo Exhibitions

2015 Multiples. Blasted Pop-Up Art Gallery. Santa Rosa, CA 2012 One Another One. Quicksilver Mine Co. Forestville, CA 2008 Pretty Sure. Merced College. Merced, CA 2007 Secret Lick. Quicksilver Mine Co. Forestville, CA

2006 Undercurrent. Morris Graves Museum of Art. Eureka, CA 2005 Surfacing. Tangerine Gallery. Ukiah, CA 2001 Depending on the Wall. Bush Barn Art Center. Salem, OR 2001 Mechanical Solutions/Organic Dilemmas. Linfield College. McMinnville, OR 2000 Sculpture. Southern Oregon University. Ashland, OR

2, 3, and 4 Person Exhibitions

2012 Beards, Black, & Lustufka. Phantom IV Gallery. Windsor, CA 2008 Chris Beards & Diza Hope. Willits Center for the Arts. Willits, CA 2006 Chris Beards & Robert Herrick. Napa Valley College. Napa, CA 2005 Beards, Harris, Krikl, & Oakes. Western Oregon University. Monmouth, OR 2003 Nancy McHone & Chris Beards. Willits Center for the Arts. Willits, CA 2003 Clayton Merril & Chris Beards. 1078 Gallery. Chico, CA 2002 Four Artists Four Directions. Sanchez Art Center. Pacifica, CA 2002 Jimin Lee & Chris Beards. Monterey Pennisula College. Monterey, CA 2002 Beards, Christensen, Jonasson. MatrixArts.

Sacramento, CA 2002 Beards, Grossman, Wilson. American River College. Sacramento, CA 2001 Chris Beards & Melinda Meeker. Gaurdino Gallery. Portland, OR 2000 Beards, Lancia, Wilkoff. Chemeketa Community College. Salem, OR 2000 Beards & Van Rostyne. Clatsop Community College. Astoria, OR

Group Exhibitions

2015 Group Exhibit. Paul Mahder Gallery. Healdsburg, CA 2015 Nocturne. Arts Alliance Gallery. Cloverdale, CA 2015 Metamorphisis. Chroma Gallery. Santa Rosa, CA 2015 Anything Goes. Graton Gallery. Graton, CA 2015 Small Works. Chroma Gallery. Santa Rosa, CA 2014 Seventeen. Hammerfriar Gallery. Healdsburg, CA 2014 Bibliophoria III, Sebastopol Center for the Arts. Sebastopol, CA 2013 Punch Invitational. Punch Gallery. Seattle, WA 2013 Juried Show. Hammerfriar Gallery. Healdsburg, CA 2013 California Sculpture Slam. San Luis Obispo Museum of Art. San Luis Obispo, CA 2013 Up, Up & Away. Sebastopol Center for the Arts. Sebastopol, CA 2013 Untitled. Gallery 300. Santa Rosa, CA 2013 Small Works. Graton Gallery. Graton, CA 2012 Slice: A Cross Section of Regional Art. Pence Gallery. Davis, CA. Juror's Third Place Award 2012 The Last Hurrah. Quicksilver Mine Co. Forestville, CA 2012 Forward. Hammerfriar Gallery. Healdsburg, CA 2012 Face Me. Sebastopol Center for the Arts. Sebastopol, CA. Juror's Merit Award 2011 Memento Mori. Modern Eden Gallery. San Francisco, CA 2011 Boxed In: A Small Works Show. Quicksilver Mine Co. Forestville, CA 2011 Off the Beaten Track: Unpredictable Landscapes of Mendocino County. ACMC Gallery. Ukiah, CA 2011 Bibliophoria II. Sebastopol Center for the Arts. Sebastopol, CA 2011 Mendocino Coast Botanical Garden Sculpture Gallery. Fort Bragg, CA. (June 2011 - April 2012) 2010 Speaking of Solitude. Marin Museum of Contemporary Art. Novato, CA 2010 National Juried Exhibition. Haggin Museum. Stockton, CA. Richard H. Reynolds Sculpture Award 2010 H2O. Sebastopol Center for the Arts. Sebastopol, CA 2010 National Juried Exhibition. ACCI Gallery. Berkeley, CA. Juror's Award of Excellence 2009 100% Compostable. ArtSpace404. Santa Rosa, CA 2009 Bibliophoria. Sebastopol Center for the Arts. Sebastopol, CA 2009 Artists of Inland Mendocino County. Corner Gallery. Ukiah, CA 2009 Textile. Milk and Honey Art Gallery. Mill Valley, CA 2008 Innovations in Fiberarts IV. Sebastopol Center for the Arts. Sebastopol, CA 2008 Assemblage. Gallery 25. Fresno, CA 2007 Call for Small. Sebastopol Center for the Arts. Sebastopol, CA. Best of Show 2007 Beyond the 80s. Gallery One. Ellensburg, WA 2006 Innovations in Fiberarts III. Sebastopol Center for the Arts. Sebastopol, CA 2006 Catch-22. Pro Arts Gallery. Oakland, CA 2006 Bakers Dozen: 13 Bay Area Artists. Quicksilver Mine Co. Forestville, CA 2005 2,3,4...Art in Series. Plaza Arts Gallery. Healdsburg, CA 2005 Rivers & Bridges. Laredo Community College. Laredo, TX 2005 Members' Showcase. Berkeley Art Center. Berkeley, CA 2004 Sculpture Exhibit. Sacramento Fine Arts Center. Sacramento, CA. Best of Show 2004 Line in Art. Willits Center for the Arts. Willits, CA 2004 Bold Expressions. Sacramento Fine Arts Center. Sacramento, CA. Ferrario Award 2004 Textures. Plaza Arts Gallery. Healdsburg, CA 2004 Juried Summer Show. Mendocino Art Center. Mendocino, CA. Juror's Second Place Award

2003 Sculpture. Sebastopol Center for the Arts. Sebastopol, CA. Award 2002 73rd Crocker-Kingsley Exhibition. Crocker Museum of Art. Sacramento, CA 2001 3-D: Eleven California Sculptors. San Francisco State University. San Francisco, CA 2000 Open Walls. Portland Institute of Contemporary Art. Portland, OR 1999 Juried Art Exhibit. Allied Arts Gallery. Yakima, WA. Award 1999 3rd Annual National Sculpture Exhibition. The Hoyt Institute of Fine Arts. New Castle, PA 1999 18th Annual Juried Exhibition. Orange County Center for Contemporary Art. Santa Ana, CA



2014 “Meet Sonoma County Artist Chris Beards” Satri Pencak.

http://www.sonomacounty.com/blog/meet-sonoma-county-artist-chris-beards

2013 “Pioneer Art Walk in the Third Dimension” Claire Reiner.

http://www.vanguardseattle.com/2013/11/15/vanguard-seattle-art-walk-chris-beards- monika-dalkin-pioneer- square-galleries/

2013 "Shaping Contemporary Sculpture on the Central Coast" Sarah Linn.

http://www.kcet.org/arts/artbound/counties/san-luis-obispo/california-sculpture-slam- san-luis-obispo-museum- of-art.html

2012 “Chris Beards: One Another One" Satri Pencak. http://satripencak.com/2012/03/19/chris-beards-one-another-one 2009 "Artists of Inland Mendocino County" Ree Slocum. Blurb Books. page 12-13 2009 ArtSpace404 blog. http://artspace404.blogspot.com/2009/02/yes-indeed-something-suspicious-about.html 2008 Turning Wheel Magazine. Summer/Fall. page 12

2008 “It's Magic”, Linda Williams. The Willits News. September 3 2008 “Art That Clicks”, Donald Munro. The Fresno Bee. June 22 2006 http://www.gardenrant.com/my_weblog/2006/09/oak_gall_art.html Amy Stewart 2005 "Still Life in Motion", Fae Woodward. The Willits News. August 26 2002 "Four Artists Four Directions", Emmanuel Williams. Pacifica Tribune. November 6 2002 "Voltaic Age Beauty", Jackson Griffith. Sacramento News and Review. April 25 2001 "Art Gallery Opens in 3D", Carolyn Sy Quito. Golden Gate Express. September 13 2001 "Alberta Streetwise", Bob Hicks. The Oregonian. May 11 2001 "Portland Artist to Show Sculptures at Linfield", McMinnville News-Register. March 1 2000 "Ambiguity Appeals to Artist", Ron Cowan. Statesman Journal. March 30 1999 "Get It?", Matt Cooper. Yakima Herald-Republic. June 19



Current scientific thought tells us that every time we remember something, it is re-filed as a new memory. Over time, the details change and what we remember may have no basis as 'fact'. The memory is based on a few illuminated points. The details are filled in on the fly, and we aren't even aware of it. It feels like the memory is true, but most likely what is remembered is not the actuality. The story of our lives becomes a narrative of increasing smoothness.

When my mother died in 2013 all I had left were memories – which I knew would soften and fade naturally with time. I had lost her and would continue to do so as long as I lived. It breaks my heart to know this. “You'll always have the memory,” is not really true, as a photocopy of a photo is not the photo. Information and nuance are lost to the processes of the mind. We can't help it.

What I remember the memory to be - memory of the memory of the memory -

I stopped making work for over six months – the longest stretch of non-art-making time I have experienced. How could I make anything that had any real sort of value? What did I want to say? Why would I even bother? And the answer is because this is the only way I know to live my life.

At the time, my current work had been an investigation of multiples, pattern, repetition, and how order could be created. It felt distant and too cerebral. I felt utterly disconnected from what had occupied me for some years. There was no order, no meaning – only turmoil and upset, uncertainty and grief. The idea of art was painful. A raw and more physical approach was needed. Randomness and a lesser control over the final form.

There is sadness in this body of work, but also the joy of creation and of coming to terms with inevitable change. This is not an attempt to depict the actual memory of an instance. These works function as skeletons, or mental frameworks, that support a thin skin of memories replayed so many times. I can't depict the event. Like an archeological dig, working with fragments and supposition, all I have is the memory to draw from.

My intent is to give form to the idea of memory; of physical things that harken to to the totems that wash ashore in our interior landscapes. Driftwood or bones – stripped of the living layers and relegated to reminders of what was.

Making BREAK

Part of my creative process, in addition to sketches, are written notes in my sketchbook. I write about the process and intent, about the music I am listening to, about associations and aspirations. To write the statement for BREAK I had to go through my notes. I didn't want to. I spent weeks avoiding going through my notes; avoiding reliving one of the most painful experiences of my life.

BREAK is made with lighter-gauge steel, formed with hammers, various tools, and my own stubbornness and strength.

The steel is pounded, twisted, bent, smashed, torqued, wrestled, wrenched, hammered, beaten, coaxed, cut, folded, torn, riveted, welded.

There is no undoing a smashed metal tube or crumpled sheet-metal, the evidence of the action is impressed into its physical presence, and in this way the metal shows memory of the past.

The steel is then covered in layers of torn paper and glue, which softens and smooths the form, encasing it, and preserving it.

The paper is ripped, torn, glued, layered, sanded, spray-painted, sanded, steel-wooled, graphited, shellacked, steel-wooled, graphited, shellacked, and the final steel-wooling.

The paper & glue creates a distance from the raw physicality of the making. The surface is polished smooth and soft through frequent handling – like the effect of time upon memory. The touch of these is like polished wood.

The sheer physicality of the work, the sweaty active interaction between myself and the metal is an important aspect of BREAK. It was a way of pounding the shit out of something to make some sort of sense of my experiences. There is anger, and fear, grief, frustration and love, in this work. There are monotonous days of sitting – applying strips of dipped-in-glue brown paper one by one. Hours spent sanding and rubbing in powdered graphite; I touch every inch of this work repeatedly.

The sheen of the graphite imparts a certain visual ambivalence of the surface. It is difficult to photograph this work. I needed a polarized filter to cut the glare. But that ambivalence re-enforces what I'm trying to convey. The harder you look and try to hold on, the more it escapes and eludes. Sometimes the music was so loud. Drowning out my thoughts as I pushed into new territory. Alone in my studio I danced – to and with the work in progress. Sometimes I knew that this work would not exist without the dance. I lost myself to the moment – to the pain – to the freedom.

These sculptural works [BREAK] speak of movement – the actual physical movement of the viewer. They function as drawings in space with their thick-and-thin lines. Photographs can't capture this. Nothing is static, everything is in constant motion as the viewer changes perspective. Each piece reacts against the wall – none hangs statically. They bend or push against. They are uncomfortable because I am uncomfortable.