Donovan Widmer

Widmer's current artworks examine how ideologies evolve. He is interested in the ways belief systems are impacted, modified, and annulled by external institutions such as philosophy, science, and religion. The individual works are an assemblage of appropriated images and materials that are deconstructed and combined with fabricated elements. These elements are constructed through traditional metalsmithing processes—a practice as significant as the end product. This inquiry is explored through three series of works: body ornamentation, pedestrian armor, and sculpture.

The first of these series of works explore ornamentation as both the object and subject of the work. When designing these pieces Widmer approaches the body as a site-specific architectural space. The objects reference traditional philosophies and compositions prevalent in body ornamentation. In tandem with formal design strategies, historic tradition provides presentation methods associated with the ornament. This exploration evaluates socially familiar rituals and institutions such as engagement, marriage, declaration of identity, etc. The ornament functions as a marker of an individual’s participation within a given ritual, although its recognition is often culturally bound. As a result, this series represent objects that are not solely decorative, but rather incorporate far greater social, political, and economic implications.

The next series of work explores contemporary forms of armor. The (ir)rational causes of fear such as nature, disease, death, etc. affect the moral climate and value systems of both the independent and the collective. The impact of these influences are the focus of this series. Pedestrian objects are recreated in a historically prevalent form of armor—chain mail. This material transformation elevates the protective qualities denoted by the object; thereby depicting the objects intended function and containing a far greater critical discourse and historical assessment.

The final series of work investigates the subject of transience. The temporal quality of transience implies a fragile and vulnerable state of existence. The sculptures are constructed to prolong the ephemeral phenomena or display the residue of their degenerating processes. The works are designed to reference antiquated technologies and scientific instruments. The resulting objects explore science’s endeavors to objectify and codify incorporeal subjects such as faith, theism, mortality, etc. In turn, the works imply the ways in which human thought and understanding evolve as newer models replace the obsolete technologies and knowledge.

Within all of my work Widmer attempts to strike a balance between the moral and social flaws we acknowledge, and suggest the persistence and integrity that constructively advances our culture. The images and objects are meant to be amusing, sardonic, and peculiar. It is my intention to celebrate the ideas and initiatives towards progress and equally imply the realities of our failures and dysfunction.

Widmer is currently an Assistant Professor of Art at the University of North Dakota in Grand Forks, North Dakota. He has served in this position since 2004. Widmer has been working professionally as a metalsmith since 1995 and is recognized as an emerging artist. Widmer received his Bachelor of Fine Arts degree in Metalsmithing from Edinboro University of Pennsylvania and his Master Arts Degree in Metalsmithing from the School of Art at Illinois State University. He has previously taught at the School of Art at Illinois State University and Bradley University. In addition to teaching within university academic settings, he also has a strong background in community-based education. These have included McLean County Art Center and Peoria Art Guild where he conducted workshops teaching a variety of Jewelry/Metalsmithing and sculpture techniques to both adults and children. During the summer 2004, he was a visiting Lecturer at the University of Alaska in Fairbanks, Alaska.