Laura Rathe Fine Art Austin is excited to present Interwoven, a two-person exhibition featuring new works by Texas-based female artists Sydney Yeager and Caprice Pierucci.

Yeager captures movement through the immediacy of paint and her signature wet-into-wet technique, while Pierucci creates organic forms through sculptural repetition and layered materials.

Together, their works invite viewers to explore the quiet dialogue between painting and sculpture, spontaneity and structure, and permanence and transformation.

Joe Max Emminger, a self-taught painter from Seattle, Washington, developed an interest in art in the early 1970's and educated himself with books at the University of Washington art library. Painting became a central part of his life and he has painted every day since. His work, which is always whimsical, and serious, and seriously sentimental, employs bold colors and strong lines to depict scenes of family life, animals, musicians, Seattle landmarks, and fanciful creatures. 

Joe says, 
“I am a self-taught painter.
For the first years that I painted I was learning how to paint.
I’ve painted many hours a day, mostly every day since then. Painting is the backbone of my life. But I’ve also had a life besides painting.
My painting has grown to be less about learning how to paint and more about getting down what I see and feel and live.
The paintings evolve as I paint them – in a way I try to stay out of the way and let them happen. I try to leave room for them to breathe and live in the world.”

Flatbed Press has long welcomed sculptors into the collaborative environment of the print studio, where ideas rooted in three-dimensional form find new expression on the printed plane. These collaborations reveal printmaking not simply as a means of reproduction, but as a medium of discovery—one in which sculptural thinking is translated through line, texture, pressure, layering, and the physical act of making an impression.

The Sculptor’s Imprint: Part II brings together the print work of Hollis Hammonds, Beili Liu, John Greer, Beverly Penn, and Joan Winter. Each artist approaches sculpture through a distinct vocabulary of materials and forms, yet their prints reveal a shared sensitivity to the physical world and to the transformation of materials through process.

For these artists, the movement between sculpture and printmaking is particularly compelling. Organic forms, constructed spaces, natural phenomena, objects, and accumulated marks shift between dimension and surface. The processes of cutting, layering, impressing, drawing, and transferring become points of connection between the sculptural object and the printed image.

Together, these works demonstrate how the habits of a sculptor—an awareness of material, space, weight, structure, and touch—can remain present even when working on paper. The Sculptor’s Imprint: Part II considers the print not as a departure from sculpture, but as another place where sculptural ideas can take form.

Exhibition page