Elementary - High School Sewn Paintings Early Performances The 1976 All American Glamour Kitty Pageant The 1976 All American Glamour Kitty Pageant Show Great Goddesses Along The Road
Terrorist Kitty and Erma Metal Reliefs Sculpture Installations 1984 NAME Show - Chicago Mid 80's 1989 Chicago Wall Frames Along The Road
Metal Drawings and Books Waterloo Art Center Exhibit Brochure Homeless Drawings 1986-91 Bemis 1993 Bed Shoe Home YWCA Windows 95 Wisdom Picture Pillow Story 1971-2007 Prints Along The Road
Blind in Portugal Blind in New York City Migration and Fatigue Workshift Slow Dip Steady Drip Metal Notes and Books 1979-2009 Homeless Notes Morton's Salt and a Semester at Sea Quality Chef BCISUC In the Studio Along the Road
BED SHOE HOME BED SHOE HOME WORKSHOPS Pathetic and Pitiful Kama Kama Corner (Un)Seen Work: Part 1 (Un)Seen Work: Part 2 (Un)Seen Work: Part 3 The Architecture of Migration Along The Road In the Studio
Full CV 4-page CV Articles & Lectures
AIR Gallery A.I.R. Gallery History 2008 Iowa Arts Council Lucid Planet Mount Mercy University Act Out: Performative Video
Homeless Notes

Gib Sleeps Walks, 8” x 10”, note transferred to36 ga. aluminum, Gib Edelman, 1999.

For the past thirty years one aspect of my work has involved the transfer of text and images to 36 gauge aluminum sheets. I first used this material (available at craft stores) after encountering silver Greek Icons while traveling in Crete in 1978. There was something familiar and interesting about the material. It was perfectly suited to the shrines like work I was making at the time (see archives). I noticed that you could buy tin “knock-off” icons on the street in Athens, so I went to a Greek Icon maker to find out how the repousse quality was achieved. Basically he was working with a very heavy aluminum for copper foil. Suddenly I remembered our copper tooling projects in Girl Scouts! I started drawing on the metal and transferring the text from found notes (by tracing the handwriting on the notes). I found the material interesting for many reasons including it’s cultural references (precious, kitsch). It looks hard and cold but is thin enough to be very malleable and easy to draw into. It reminds some of medieval icons or the Milagros on roadside shrines in Central America and in Mediterranean countries, but it also reminds us of tin foil, the stuff in which we wrap leftovers. Over the years I have developed my own techniques with this material and have used them in workshops during community-based public projects in homeless shelters and hospitals. Often I use the notes in quantity to cover the surfaces of walls and sculptural dwellings.
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