“I employ fictional animals in my artwork to explore the narrative of my life and my own personal history as they have the ability to disarm expectations. I enjoy utilizing animals because they are beautiful and mysterious creatures, vulnerable to relations with humans. I use this vulnerability as a source of power. It takes a brave and confident person or animal to make themselves vulnerable, for they must have the strength to withstand the consequences.”

The fictional creatures juxtaposed with non-fictional animals are there to turn the world up-sidedown and to leave the viewer off balance. By changing the rules of engagement, anything is possible in the world I create. Fantasies become realities and dreams become actuality. Concrete gender roles no longer exist. As a female artist, I am interested in gender and how specific gender roles are assigned to both girls and women. I exploit normative female iconography such as flowers, butterflies, and curving-sensuous lines as well as “feminine” color combinations such as pinks, purples and pastel blues. Through these creatures, I embrace, reclaim and redefine female stereotypes; powerful messages relevant to today’s world.In a society of mass production,

Rebekah Bogard received her MFA from the University of Nevada Las Vegas in 2003. She received a BFA from the University of Wyoming in Laramie in 2000. She is currently Associate Professor in Ceramics at University of Nevada Reno. She has received numerous awards including being named an “Emerging Artist” by both the National Council on Education for the Ceramic Arts and Ceramics Monthly Magazine. She has been awarded residencies in places such as the Bemis Center for Contemporary Arts, CRETA Rome, and Shangyu Celadon International Center in Zhejiang, China. In addition, she is a two-time recipient of the Nevada Fine Arts Council Fellowship, as well as receiving the “Best of Show” in several national art competitions. Her work has shown in several solo and group exhibitions nation wide. Moreover, her work has been reviewed in publications such as Art in America, LA Times, Sculpture Magazine, Artweek, Ceramics Monthly Magazine, and Clay Times Magazine.