"Because they are so very ordinary and familiar, these objects can be easily loaded with memory and meaning."
Cindy Koopman grew-up in southern Minnesota. She has earned a BA in art education and a MFA in printmaking. Between 1989 and 1992, Koopman worked as a printmaking instructor for the Lacoste School of the Arts in Lacoste, France. She continued her education through various workshops in the arts and is currently a faculty member at Normandale Community College in Bloomington. She has exhibited both nationally and internationally. She lives in Minnesota with her family.
Artist Statement – “Costa Rica” 2026:
When I was in graduate school, I attended a lecture on the optics of color by an ophthalmologist from the university’s medical school. The speaker shared an experience of creating a watercolor postcard with water scooped from the Thames to infuse his travel with deeper meaning. This resonated with me; I understood that desire. I often sketch while traveling to slow down, immerse myself, and be present. For this exhibit, I married both sketches and photographs for the source material. Because the experience of drawing was so integral to my time in Costa Rica, I tried to incorporate some aspect of drawing into each image. I wanted the artist to remain present.
Acquiring, storing, retaining, and retrieving are the basic processes of memory. I am interested in how memory shaped this work. How did the drawings and photographs influence the memory of being in that space? At first, I worried about making the work look like a scrapbook or travel journal. How do I make them more universal? While many of the pieces are constructed like a shadow box that might be filled with memorabilia, they function more like something half remembered than factual documentation. A single image might combine memories or scenes from different points of the trip, along with later research and reflection. I was not trying to replicate my exact experience. But rather, a hybrid memory that mixes the actual memory with the process of making.
The work in this show is paintings and drawings on panels. I used matte acrylic, graphite, and clay. Many of the images contain patterns derived from flower structures or other local imagery. I used a laser engraver to create relief stencils or to incise an image directly onto the panel. In addition to incorporating laser engraving into my artmaking practice, I have utilized the laser to construct boxes designed to house clay sculptures or various components of the artwork. This approach allows for a dynamic interaction between different artistic media, merging three-dimensional elements with two-dimensional imagery. My creative process is deeply rooted in exploring the relationships among the chosen materials, the methods employed, and the underlying concepts. Through this interplay, I seek to emphasize how the combination of diverse techniques and ideas can contribute to the overall narrative.