Originally from Ontario, Canada, Vibrata's intermedia paintings, installations and digital work have been seen in San Francisco, Los Angeles, Seattle, New York, Chicago and as far away as Turkey, Portugal and Japan.
Elements of symmetry and rhythmic patterning, geometry, and the use of beguiling perceptual distortions find their way throughout all of her work. The work is graphic and sometimes suggestive of symbols or logos—a result of her parallel work as a graphic designer. She’s most at home in the peculiar, techie playground where digital design meets painting or sculpture techniques. Her 3D pieces and immersive installations incorporate the use of a CNC router or laser cutter with wood and plastics. In adapting to venues and events that require large-scale work to be portable and quick to set up and strike, she’s developed her own style of modular, flat-pack, knockdown-joinery art.
"I use a language of gradating and iterating colors and curves to describe emotional and existential phenomena, showing them as fundamental energy patterns, where they repeat endlessly, like a dance. Mathematics and physics; biological and atomic structures; Motifs in ancient architecture and fabrics; Musical expressions; mythology and language…the connections run deep. I love to play with the question of whether patterns are there for us to perceive or created through the act of perceiving. It's a way to understand a unified net of reality and consciousness."
Vibrata is a thirteen-time veteran of the Burning Man festival, held every year in Nevada, participating with her own art installations and contributing to the Connexus Cathedral and Entheon Village in 2006, the Institute in 2011 and 2012 and Nexus in 2013. As a lecturer and presenter, Vibrata was featured at the Palace of Fine Arts in San Francisco for the Mind States conference, at CoSM gallery in NYC in 2005 and Bicycle Day in San Francisco in 2012. She was interviewed in 2017 by Transform Press, and the Visionary Arts Academy. Her work has been featured in such publications as the Entheogen Review, the CoSM Journal of Visionary Culture, and the Elfintome Visionary Arts Collective Catalogs.
Symmetry, color and repetition have a visceral power that I love to explore. Rhythm, pattern and reflection are my elements. Movement and change, flux and entropy are my subjects. In my art I see a dance of interconnected, self-aware, energetic potentialities.
Growing up in Canada, I was surrounded by the visually rich and powerful images of Northern Indigenous artists. These artists pay homage to the deep connection they feel with nature in their depictions of magical deities and mythological spirit animals, pulsating with colorful life-force energy. Eventually I found myself being drawn to the art of other indigenous cultures such as the ancient people of Australia and South America. The commonalities that inspire me are the expressions of awe at the beauty of the intangible; the act of creating art as a work of devotion; the ability of the artist to bring the unseen into visible form.
My loyalty to painting and newfound love for sculpture is coupled with my delight for digital imaging, and one medium informs the other. My computer tools have become essential to my method of sketching a design, choosing colors and executing each piece. The ease with which I can create mathematically precise geometric shapes, mirror reflections and symmetrical iterations has deeply influenced my artistic voice.