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Subsequently Now Productions © 2008–2014

CURRENT SHOW September-October

Jillian Piccirilli

Photography based mixed media

Opening Night Friday September 12, from 6-11pm
Show will run from September 12 - October 3

Oakland-based artist Jillian Piccirilli’s new series Robinwood chronicles the life of her maternal family’s past handmade homestead. A three-bedroom-two-bath set on northern Michigan cow pasture land and inspired by blueprints lifted from a Better Homes & Gardens, Robinwood was the house that her grandparents Jim and Mae King built together. The Kings’ only grandchild, Piccirilli has created an illustrated ode to the space, which had been a constant against a typical life marked by transience. Through a merging of archaic photographic printing methods and painting that mines the family’s archives and artifacts, she has attempted to mime Jim and Mae’s impulses of creation and sharing. Robinwood is a re-creation and re-telling of the story of the space, which seeks to both contain and extend the homestead's life.

JILLIAN PICCIRILLI Studied art and anthropology at Cornell University, where she was the recipient of the University’s Faculty Medal of Art and Charles Goodwin Sands Memorial Medal of Art. She has exhibited in California, New York, Colorado, and Rhode Island, where her Providence Art Windows public art installation garnered praise in the Washington Post. She recently moved to Oakland, CA, where she serves as Director of Operations for the Oakland Art Murmur and consults privately for individual artists while maintaining her own art practice.

Robinwood by Jillian Piccirilli Robinwood by Jillian Piccirilli Robinwood by Jillian Piccirilli Piccirilli_Robinwood-MaeJim Piccirilli_Robinwood-Bday


an Evening of Multi-Media Performance Poetry in Conjunction with 100,000[,000 Dead] Poets for [Spare] Change

September 25
7.30-9.30 PM
One Night Only!

This eclectic event is one of a week-long series of poetry happenings under the umbrella of 100,000[,000 Dead] Poets for [Spare] Change sponsored by Howling Dog Press and by invitation of the international movement: 100,000 Poets for Change. Michael Annis, the Denver Metro area 100TPC Producer, is founder of Howling Dog Press. This event is free and open to the public.

Featured sets include Mike Romoth – sharing words from his prose poem The Climes They Are A-Changin' (previously featured in New York's Village Voice) and more; Valerie Szarek – words/video/native flute on reaching beyond western boundaries; performance poet Roseanna Frechette [creator/coordinator of the Hinterland event], dancer/poet Mila Popovich, and drummer Scoz in an interdisciplinary and rhythmic landscape of ever-changing LINES (with video art by MD Friedman); and renowned members of the Denver Slam community Eddie Eifler and Piper Mullins.

An ongoing audience-interactive piece will allow for creative interplay when the crowd is invited to create “Haiku Shore” (via grease marker board) and also to draw word constructs on the live skin of “Graffiti Man” and then to pair the two word shores into immediate, crowd-evolved poetic pieces.

This is a free event, honoring the cause of “100,000 Poets for Change” (, founded by Michael Rothenberg, poet and editor of Big Bridge Press and Zine, in the San Francisco Bay area. Rothenberg's movement, which has grown to include events in over 100 countries worldwide, began in 2011 and has been supported ever since as a viable cause regarding the power of human expression.

Event Coordinator & Host:
Roseanna Frechette: 720-261-9477, shoreline.scott.seeber

UPCOMING SHOW October-November

Leah Hardy

Sculptural Work in Cast Bronze

Opening Night Friday October 10, from 6-11pm
Show will run from October 10 - November 7

Much of the conceptual and aesthetic impetus for Leah Hardy's artwork has been derived from interest in ritual objects, shrines and talismans—the intersection of the sacred and the secular. Personal iconography often includes parts of the body and flora presented in a contemplative manner. Hardy's newest work has been focused on insect-inspired forms, which become metaphors for the present human condition and also serve as an ethical inquiry into the scientific ability to genetically modify our food, alter our bodies and prolong life. Fragmented, altered with mechanical elements or re-contextualized, these life forms are formally preserved to reference our fascination with mortality and desire. The intended effect is for the pieces to be specimens—beautiful, yet at times, disturbing.

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