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Terri Dilling is painter and printmaker who received a BA from Indiana University, a BFA Georgia State University, and has also studied visual arts in England, Spain, and Italy.  She is based in Atlanta and works with galleries and art consultants around the country.

Terri has been creating and exhibiting her work for many years.  She has received numerous grants and awards, including two Center for Chemical Evolution project grants, Art on the Atlanta Beltline project grants, a Hambidge Center Residency Fellowship, a Caversham Printmaking Residency, and an Atlanta Office of Cultural Affairs collaborative artist grant. She has been featured in a variety of publications including Fresh Paint Magazine, Studio Visit Magazine, New American Paintings, and FORM: Artistic Independence.

Terri has been very active in her art community, helping found the non-profit Atlanta Printmakers Studio in 2005, and serving on the board for 13 years, 6 of them as president.  She has shown both nationally and internationally, and her work is in many public and private collections around the world, including the Museum of Contemporary Art of Georgia, Fulton County Arts Council, Fidelity Investments (Boston), UPS (Atlanta), Four Seasons Hotel (Marrakech, Morocco), Conrad Hilton (Hong Kong), JW Marriott (Ankara, Turkey), and ANA Okayama Hotel (Okayama, Japan).




ART STATEMENT

As an artist, I am interested in the beauty and complexity of the natural world, especially its structures, patterns and cycles. Through gestural marks and organic forms, I make reference to the landscape around us, and also the emotional landscape within. Dots and lines are among the most basic visual marks, and I see them as metaphors for the elemental particles that make up everything, always in motion and evolving. I want to put the emphasis on verbs more than nouns, creating a sense of energy and movement, yet also maintaining a sense of balance within the work.

I am intrigued by the transformation of an artwork during its creation, with actions and reactions that occur along the way. Some elements get pushed back and covered over, while others are pulled forward, and when a painting is finally complete, it contains a rich history. For me, this process corresponds with the way we build and experience our lives moving from one ephemeral moment to the next.




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