We’re excited to introduce you to the always interesting and insightful Donnabelle Casis. We hope you’ll enjoy our conversation with Donnabelle below.

Hi Donnabelle, thanks for joining us today. It’s always helpful to hear about times when someone’s had to take a risk – how did they think through the decision, why did they take the risk, and what ended up happening. We’d love to hear about a risk you’ve taken.

Hi Donnabelle, thanks for joining us today. It’s always helpful to hear about times when someone’s had to take a risk – how did they think through the decision, why did they take the risk, and what ended up happening. We’d love to hear about a risk you’ve taken.
I was scheduled to have a solo exhibition of my paintings and prints at the Amy H. Carberry Gallery in March of 2020. It was up during the beginning of the pandemic, and ended up having to be deinstalled after only 3 days, when the gallery shut down because of the spike in COVID cases. Two years later, I was given an opportunity to exhibit again in April of 2022. I hadn’t created much new work and I didn’t want to show the same body of work that was made for the original exhibition. So, I asked the director if it would be possible to use the month as an arts residency instead of having a show. I proposed creating an interactive kinetic sculpture during the month of April with a final exhibit during the first week in May.

The gallery had over 2,000 sq. feet of space, which appealed to me because I had a really small studio at the time. I would use one part of the gallery as a working studio, and the other part for the final installation. I hadn’t made sculptures since a brief experiment in graduate school back in the 90s. I wanted to challenge myself by working with different media, scale and concept. I figured I would not have the opportunity any time soon to use such a large space to create this kind of work. To be honest, the project I proposed was a little daunting and quite a stretch for me, but it was so rewarding in the end.

The main impetus behind the final installation was the question: What would it be like to walk through one of my paintings? The whole process was like a crash course in many topics. I learned how to create and balance hanging mobiles, and how to work with light and color in space. I experimented with using stencils and an airbrush. I used materials I never used before like: Philippine textiles, metallic paper, capiz shells, wire, sheet metal, motors and color changing lights. I learned how to design objects to be laser cut in aluminum. Some objects moved by air currents created by fans or by passersby, and by motors. I worked with varying sizes of the same sculpture to allude to multidimensional perspective. My experiments with light and color elicited varied responses from participants from “feeling like being in space” to “feeling like being under water”. This fascinated me since my 2D work questions how we each interpret and experience what we see. I titled the installation “Kinetic Peripatetic” which referred to the moving parts and the fact that I worked in the space for a short time.

In the end, the finished kinetic installation felt like a huge success for me. It was a fascinating way to approach my work in a different and exciting way. In fact, I now consider creating kinetic sculptures and installations as part of my studio practice. I have since created an outdoor kinetic installation titled Airy Luminary for a group show at Art in the Orchard in Easthampton, MA, and a hanging mobile installation for the Albany International Airport in Albany, NY. I’m still learning about the mechanics of kinetic work and working in 3D. Learning new things keeps my creative juices flowing.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

I am a Filipina-American woman artist living and working in Western Massachusetts. I was born in the Philippines and immigrated to the US when I was two years old. Most of my life experience is framed around how my perspective is influenced by who I am, where I came from, and how I contribute to the community.

I am fascinated by visual perception and how meaning is derived from what we see. I seek hidden geometries which may connect discrete perspectives to form a greater whole. I realize our experiences inform how we project what we know onto our surroundings, and that the greatest knowledge comes from being open to new and novel ways of looking at the world.

My current works explore my interest in the tangible universe and what transcends the human experience. Through shapes, vibrant colors, light, and abstract forms, I create multidimensional spaces which are interconnected. I contemplate how digital technologies like facial recognition software map, codify, and compartmentalize physical characteristics which determine one’s visual identity. Despite the accuracy of discerning the appearance of an individual, systems like these lack the true understanding of what makes us human. Through my study of symbols and patterns in Filipino tribal tattoos and textiles, I draw from my cultural heritage to speak about the intricacies of personal identity. Filipino tribal imagery is tied to storytelling, marks of accomplishment, and societal roles. This investigation helps me reconnect with my lineage, and helps me understand my place in the world and beyond.

My interest in metaphysics and ancestral cosmology stems from the spiritual aspect of myself. In addition to being an artist, I am an evidence-based medium. I have had these innate intuitive gifts since I was very young. Over the past few years, I have put more focus on this part of me to hone my abilities in order to be the clearest vessel for Spirit. My work in connecting loved ones who have passed with their people here still on the physical plane, is my gift of service in this life. My experience with traversing these different realms gives me a knowing that there is more beyond our typical senses, and gives me a greater sense of purpose.

I primarily work with acrylic gouache painted onto panels, but more recently I have been creating kinetic mobile sculptures made from laser cut aluminum sheets and mixed media. Working in 2D and 3D has given me a multitude of ways to manifest my ideas into creative form.

My journey to art making began with my love of drawing at an early age. I later focused that love to painting in college. I pursued this investigation and earned an MFA in painting from the University of Washington in Seattle. My work has been exhibited in museums and galleries across the US and abroad at venues including: Museum of History and Industry, Albany International Airport, TurnPark Artspace, PULP, Tacoma Art Museum, Newport Art Museum, among others. I have received numerous awards and grants, including the Neddy Artist Fellowship for painting granted by the Behnke Foundation and grants from the Northampton Arts Council/Massachusetts Cultural Council. My work is included in several public and private collections.

Community service is important to me. I offer my skills and position to help elevate voices who may not have access to reaching a broader audience. I host a weekly radio/podcast segment called The ArtBeat Report which highlights Western Massachusetts artists and arts organizations every Friday on Talk the Talk/WHMP. I am a co-curator for The ArtSalon, a non-profit arts outreach program, which gives artists a platform to share their studio practice and to connect with the community. I am an advisory board member of A.P.E. Gallery, Ltd. And, I also founded and produced an annual free community arts street festival called Florence Night Out. It was one of my passion projects to democratize art and make it accessible to everyone. Florence Night out ran for seven years.

Can you tell us about a time you’ve had to pivot?

In 2003, I became a mother of twin boys, which profoundly changed the course of my life and art career.

When my boys were born, I was represented by a Seattle gallery, my work was gaining recognition and being sought by collectors. During the pregnancy, I had some complications and stopped making art in order to focus on staying healthy. After their birth, my artmaking came to a complete standstill as I turned my attention to motherhood and caring for twins.

When my sons grew a little older, my creative impulses started to return, but I did not have enough headspace or time to work on my paintings. I learned enameling and created a line of jewelry with my drawings printed onto enamel pendants. This kept me busy for five years when I launched my business donnabelle.designs. I found the work rewarding since I was able to use my hands and make something. My jewelry was sold at various shops and boutiques, and even a museum store.

In 2012, I went to an art opening with a friend who introduced me as a jeweler (not a painter). This moment struck me as a pivotal point. I realized I had been on a tangent from my original path, and I questioned whether I was still a painter. I decided to stop making jewelry and returned to painting.

We’d love to hear a story of resilience from your journey.

Contact Info:

• Website: donnabellecasis.com
• Instagram: @thisisdbc
• Facebook: Donnabelle Casis

Image Credits
Isabella Dellolio Photography, Tracey Eller Photography, Carol Lollis Photography