Heidi Pollard is a painter and sculptor based in Albuquerque, New Mexico. She was born in Detroit, and grew up in Ann Arbor, MI.
Pollard has received awards from the Joan Mitchell Foundation, the Adolph and Esther Gottlieb Foundation, and from the Pollock-Krasner Foundation. Artist residencies include Headlands Center for the Arts, CA; the CUE Art Foundation in New York; Tamarind Institute and the Roswell Artist in Residence Program in NM.
Pollard has exhibited widely in the US, at venues including Tiger Strikes Asteroid, John Davis Gallery, McKenzie Fine Art, PS 122 and Key Projects in New York; at Gold/Scopophilia in Montclair, NJ; at Transvagrant@Warschaw Gallery in Los Angeles; at the University of New Mexico Art Museum, the Museum of New Mexico, the Outpost, SCA Contemporary, Sanitary Tortilla Factory, 516 Arts, Exhibit 208 and the Harwood Art Center in New Mexico; with the CUE Art Foundation at NEXT Art Fair, Chicago; and with Horse Trader Curatorial Projects at Aqua Art Fair, Miami. Her work has been reviewed in Art New England, Pasatiempo, and by Peter Plagens in Newsweek on line.
My working method is contemplative and improvisational, a way of negotiating irreconcilables. And yet I would call myself an imagist, rather than someone who is primarily interested in process. Seat-of-the-pants mining expeditions via drawing, painting and three-dimensional construction have taught me to trust the fertile soil of the moment, and that of my own perceptions. Driving around on errands in the car is also pretty good for new ideas.
For sculptural forms, I scavenge materials over time, often at the intersection where humans and garbage meet - i.e., up on the west mesa of Albuquerque, where people use baby car seats and tin cans for target practice; around the house, re-purposing old work boots and the broken hot plate. Cultural publications off of the newsstand serve as materials for papier maché. Eventually the bits of flotsam will lose their original identities and suggest new, aggregate images. As a painter, I collect glinting fragments from the refuse of my own mind. Or I await instruction for how to proceed. Everything, from a hand tremor to a palette scrap, is allowed a place in its proper constellation.
The resulting emblems and forms are like familiar symbols. They also have the specificity of the new & nameless. A powerful ghost-thing, a metaphor, can arise when sounds, smells, colors & definitions are rubbed together in surprising ways. This apparition hovers over its embracing parents, present as an overtone: jarring or delicate or funny or wondrous - or something else entirely, depending upon the ingredients. For this I keep working.