Nature's plant, animal, and human life are the dynamic forces which inform my studio practice. I literally and figuratively draw from all three. Drawing from observation, and the imagination is my first step in understanding the interplay of form and space. My sketchbook is the catalyst for building sculptural forms with natural materials.

Rattan reed's strength and versatility lends itself to building linear forms. Traditional basket weaving techniques inspire construction methods. The reed is woven and twisted to delineate "containers" of space. Manufactured coatings, adhesives and paint alter the surface of the forms. This process between drawing and building is a metaphor for my own understanding of Nature's evolution, and ultimate resilience.

Having been raised in Florida and the Caribbean my imagination was captured by abundant ocean, sky, and plant life. The breadth of this experience continues to influence the way I consider the behavior of material, and its potential for expressive form.



The Moving Gallery is pleased to announce its premier exhibition of new drawings and sculptures by Omaha based artist Mary Day at 1030 Howard Street in the Old Market Passageway.

Mary Day: Process features a selection of refined ink drawings and five woven reed sculptures. These works continue Day’s pattern of investigation into a range of physical, spiritual and conceptual realms linked to such diverse interests as physiology, human consciousness and the makeup of the vast universe. The resultant art is intimate: the delicate drawings reveal vortices of whirling forms, while the lattice-like sculptures invite examination of weaving techniques and Day’s singular ability to suggest volume with an economy of material. At the same time her works are expansive, suggesting with their weightless energy the possibility of an infinite process of open-ended invention.

Day, who often acknowledges the influence of Rumi, the mystical poet of 13th-century Persia, feels similarly compelled to create works that bridge the understanding of self and the unknown. More often than not, her focal points revolve around the structures and inner life of the human body and mind, and their relation to the larger cosmos. How her forms overlap, interrelate and breathe are central preoccupations, corresponding with her intent to express both the material and the ephemeral, the tangible and the incorporeal. The use of natural materials in her sculptures contributes further to her dialogue about essential, organic relationships. Whether evolved from impulses that are scientific, design-oriented, or purely imaginary, Day’s centrifugal artworks emit the distinct presence of living connections, whether interpreted as nerve impulses inside the body or the dark synapses of space.