College of Arts and Sciences


  • Hedreen Gallery at Seattle University's Lee Center for the Arts Presents:



    Dates: November 24-January 12, 2013
    Opening Reception: November 24, 2013 6:00-8:00 pm
    Closing Reception and Artist Lecture: January 12, 2013 6:00-7:30 pm
    Gallery Hours: Wednesday-Saturday, 1:30-6:00 pm

    Monica Rene Rochester
    Deborah Faye Lawrence

    Curated by Amanda Manitach

    Discordia web


    1. Deborah Faye Lawrence, Come Home America, fabric and paper collage, archival varnish on canvas, 32.25 x 39 in, 2011

    2. Monica René Rochester, Allegory of Putrefaction/Fermentation, 11 x 14 in, paper collage on glass.

    Hedreen Gallery presents work by two masters of collage, Deborah Faye Lawrence and Monica René Rochester. Drawing on one of the original forms of media remix and mashup culture, both artists use different approaches to paratactic image-making while demonstrating the esoteric and political elasticity of the medium.

    Deborah Faye Lawrence’s satirical collage combines found images with repurposed print journalism and her own text. Since the moment she adopted collage as a medium, Lawrence’s defiance of authority and rebellion against the status quo have been asserted through a process of cutting, manipulating and composing found information. For her 2008 book, Dee Dee Does Utopia (Marquand Books, Seattle), Lawrence asked 100 people to describe Utopia, and collaged their responses. During 2008, she was invited (inadvertently) by Laura Bush to create an ornament for the Bush White House Christmas Tree. Along with other words and icons, Deborah collaged the word "impeachment" on the ornament. Once it was hung on the tree, the artist alerted the Washington Post. A media frenzy ensued. The ornament was unceremoniously removed, and has allegedly been archived in the George Bush Presidential Library at Southern Baptist University.

    A self-taught artist, Monica René Rochester has exhibited across the US and abroad, yet her work has infrequently been presented in Seattle, where she has lived and worked for the past  ten years. Rochester’s work veers heavily toward the eclectic, allegorical and absurd. Drawing on historical and psychoanalytic traditions associated with collage and practiced by Surrealists and their descendants, Rochester often treats her delicately frenzied work as a form of “Dream Transcription” that makes use of chaotic juxtaposition, visual echolalia and quasi-symbolic arrangement to needle the subconscious.