Call For Work
Forms of Devotion
Co-Curators: Joan Roberts Garcia and Karen Hymer
There are many types of devotion. Do they share characteristics, no matter what the subject is? Are there similarities in devotional rituals and forms?
This call asks artists to consider how devotion is a part of their art practice.
Dates: March 5 – 28, 2026
Reception Friday, March 6, 5 -7
Submit at:
https://artist.callforentry.org/festivals_unique_info.php?ID=16625
All artists must live in New Mexico or Arizona.
All entries must be handmade by the artists living in New Mexico or Arizona. 3D and experimental work is encouraged. All media are acceptable, except for AI-generated images. AI work will not be accepted.
There are no exact size requirements; however, space is limited. Work must arrive at the gallery ready to hang, but framing is not required. Magnets, clips, and other methods can be used. Please inquire before submitting work needing alternative display methods. The artist is responsible for supplying all alternative hanging materials. Three-dimensional work
Important Dates:
February 8th, 2026 – Midnight Mountain time deadline for submitted work
February 12th– Notification via email
February 25th- Work due at Light Art Space
March 5th – March 28th, 2026 Exhibition dates
March 6th, Opening Reception 5:00 – 7:00 pm.
The idea for this exhibition came from Co-curator, Joan Roberts Garcia, who shares her experience after viewing the frescos of Pierro della Francesca: “These are questions I have been asking myself, since embarking on an art piece entitled ‘Pierros Eyes’. This piece began with a sort of reverence for what I felt was one of the most beautiful paintings ever made- the frescos by Pierro della Francesca entitled the Legend of the True Cross, in Arezzo, Italy. I had seen these frescos on a trip and bought a book about them and their restoration.
At some point a few years ago, I was thinking of doing portraits again and decided to look at this book, as I had been so impressed by the breadth of expression on his subjects’ faces, shown in a variety of circumstances. Many of them were looking straight out of the wall at the viewer. As is my habit, I wondered how far down I could simplify the scenes and still retain the powerful essence. I asked if I could capture the emotions by showing only some of the eyes: stripping the subjects of their robes of station, their armour, etc., and showing only their shared humanity through their gazes. And so it began.
Out of reverence for a former artist who was a master of this craft, I began drawing the eyes I found most interesting. This was a different sort of piece that I did not want to control, so I put it aside when I worked on others. A total of 8 years passed. I was as careful as I could be, out of reverence and respect for the great artist. I learned a lot about the human eye from the careful yet simplified copying of eyes that were almost reptilian in their folds. I was in awe of the work’s details, visible from far below.
Later on a trip to the Rubin Museum in NYC, I was introduced to the Tibetan Thangka- a way of framing devotional work in brocades and silks that both protected and honored them. I loved the bunchiness of the folded cover at the top of the work. I decided to take my simple painting of eyes, done out of devotion to Pierro della Francesca, and in celebration of the work of artists, and place it in such a protective wall hanging format. This involved collaborating with others- sewers and even a carpenter- who is making a box for it to travel in safely.
While working, the questions at the beginning of this statement came to mind. My devotion was to art and artists- gratitude for a life making art and seeing great art, sharing in the endeavor with artists throughout the centuries and honoring that. Pierro della Francesca’s work was devoted to the knowledge of the human form, to humanity, and the religious subject he was hired to depict. The Thangka form was devotional in its intent, as a housing for a devotional work. And as a protection so as not to be exposed to the wrong eyes.
What other devotional forms and subjects would artists present if asked?”