By Sharon Grosh
This past spring, I installed 19 mixed media works as part of my show named, “Layers and Light” at The Phipps Center for the Arts in Hudson, Wisconsin. The show marked a culmination of two years of creative development — and an intense, three-week sprint to complete, frame, mount, and install nearly every piece.
About the Show
After a two-year wait, I was invited to present my work in the premier gallery space at The Phipps. The venue’s scale required me to finalize a significant body of work, including five pieces created during a 2025 annual residency in Costa Rica (which were reframed after returning home), and a tryptich from a 2023 residency. The latter, built on mulberry paper, had to be permanently mounted to canvas for stability.
My intention for 2025
One of my intentions for 2025 was to complete unfinished pieces — the ones that linger just shy of completion. This installation became the catalyst to finish a lot of work. The tryptich Oceanna from the ‘23 residency, was heavily layered onto layered mulberry paper and silk organza, the thin paper was supported it with sheet-rock mud and polymer medium. I trimmed the paper edges and mounted it to linen canvas.
Oceanna 1,2 & 3.
The Concept Behind, Layers and Light.
Layers and Light represents work that evolved over the last few years, starting with flattened mixed medium collages to three dimensional structures and sheer fabric that layers over paper, creating more light and lift to the pieces. This concept helped me arrange the order and the story behind Layers and Light. Many times these pieces reflect the garden and its chaotic representation of color, texture and depth.
The Unknown (L), Curtains (M), Window Thru (R), & A Pauly Cudd Glass Platter
Unexpected Harmony
To my surprise, I shared the space with well-known glass artist Pauly Cudd. The curator had a wonderful eye, placing his luminous vases and platters beside my layered textile work. The combination created a natural atmosphere of contrast and complement — light playing through color and form.
The Challenge of the Birch Trees
Of the 19 pieces in the show, Birch Trees was by far the most challenging. Built on plywood and layered in encaustic-embedded silk tea bags, it weighed over 45 pounds. I had just one week to complete the edges and figure out how to hang it vertically — safely and cleanly.
After experimenting, consulting with the curator, and recruiting my husband for engineering support, we solved the issue. Once hung, it stood upright with presence — a sculptural focal point that grounded the rest of the installation. That moment was a personal triumph.
The Birches
Reactions and Takeaways
Hearing from viewers — seeing their responses — reminded me why we do this work.
Finishing The Birches taught me the value of starting with a plan for presentation — even if that plan changes. It also reminded me that art isn’t always soft or serene. Sometimes it’s heavy, literal, and full of problem-solving. And that’s part of the beauty.
