Painters & Sculptors Program 2019 Andrea Heimer

Painters & Sculptors Program

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Andrea Heimer

Ferndale, WA

Andrea Joyce Heimer (b. 1981, Great Falls, MT) lives in Ferndale, WA. She earned an MFA from the New Hampshire Institute of Art and has taught illustration at the Oregon College of Art and Craft (Portland) and Emily Carr University of Art and Design (Vancouver). She has lectured at Massachusetts College of Art and Design (Boston), Cornish College of the Arts (Seattle), and was a 2019 visiting critic for the New York Academy of Art. Her work has been covered in outlets including Art in America, The New York Times, The New Yorker, and New American Paintings. Heimer is represented by Nino Mier Gallery in Los Angeles.

“I make narrative paintings, largely on the subject of loneliness. I am an adoptee whose records were sealed at birth, meaning I wasn't permitted access to my own biographical information. In the absence of even basic knowledge of my background, storytelling becomes an important outlet.” 

  • During The Funeral Some Of Us Thought About Absence, Uncomfortable Shoes, Faltering Home Prices, Of Our Friend...Running Mascara, Stardust, And Sex., 2018, acrylic paint on panel, 30 x 40 x 2 inches

  • Maybe you will explain to me about my birthday, maybe other children were born that day and animals too. Sometimes I dream about the other children. In the dreams we are trying to help each other., 2018, acrylic paint on panel, 40 x 30 x 2 inches

  • What if you can't be kept., 2017, acrylic paint on panel, 24 x 36 x 2 inches

  • On Tuesday, March 24, 1981, In Billings, Montana, Which Is Nicknamed The Magic City For Its Rapid Growth As A Young Railroad Town In 1882, News Reports Said That An Earthquake Had Hit New Zealand Which Was Hardly Any Consequence At All In The Western United States Except For Maybe The Slightest Tremor Felt Under The Feet, More Of A Shiver Than A Shake, Imperceptible To Most Humans But Noticed By The Sensitive Beasts Of The Nearby Pryor Mountains Mustang Herd, A Group Of Wild Horses Deemed, Because Of Their Unique Genetic Makeup, The Most Significant Wild Horse Herd Remaining In The United States. This Day, In A Courtroom Downtown, A Judge Was Deciding A Very Large Case In Which The Crow Tribe Of Montana Sought To Ban Hunting And Fishing Within Its Reservation By Anyone Who Was Not A Member Of The Tribe, Citing Its Purported Ownership Of The Bed Of The Bighorn River, On Treaties Which Created Its Reservation, And On Its Inherent Power As A Sovereign, But The Judge Was Currently Ruling, With Coffee On His Breath, That This Was Not To Be, And That Hunting And Fishing Areas Of The Crow Reservation Would Continue To Be Open To Anyone, Stating The Treaties Of 1851 And 1868 Did Not Convey Ownership Of The Riverbed To The Crow Tribe, And He Said This In A Voice As Hollow As The Halls In Which They Sat, The Judge And Members Of The Crow Tribe. It Was Noon, And Across Town A Slight Girl With Green Eyes And Straw-Colored Hair Writhed In Pain As A Baby Girl Struggled Out Of Her, Me, And She Knew What I Didn't Know Yet Because How Could I, That Even As The Doctor Readied The Blade To Slice The Umbilical Cord, That A Man Outside Check His Watch And Waited To Transport Me Somewhere Else, I Don't Know Where, To Be Adopted To Someone Else. To Move On From This I Will Now Talk About The Moon That Night And How It Was A Waning Gibbous Moon, Meaning 85 Percent Of It Was Illuminated, The Moon Of Demeter, Which Traditionally Marks A Harvest Sacrifice To The Earth Mother, A Moon In Which Its Followers Are Advised To Disconnect From Unwanted Situations, Banish What Shouldn't Be There, And Remove Obstacles. A Sad Day On Many Fronts, 2017, acrylic paint on panel, 24 x 36 x 2 inches

Artworks shown are selected from works submitted by the artist in their grant application. All works are copyright of the artist or artist’s estate.