ARTIST RESUME

EDUCATION

1996 Bachelor of Fine Arts, Arizona State University 

AWARDS

2009 Puffin Foundation Grant

2006  Mississippi Arts Commission/NEA Individual Artists Fellow 

1996  ASU Honors Studio 

1995  Visual Arts Scholarship 

1994  ASU Board of Regents; Visual Arts Scholarship 

EXHIBITIONS

2023 “President’s Art Show” SLC, UT

2019 “Fetish” Brick Red Gallery, NOLA

2013 “Alcoves 12.0” New Mexico Museum of Art (curator Merry Scully)

2013 “Art on the Edge” (Juror Toby Kamps- Menil Collection)

2012 “Urban Untitled" 333Montezuma Gallery, Santa Fe, New Mexico (curator Tom Tavelli)

2012 "New Mexico Showcase” (Juror Peter Frank) 516arts, Albuquerque, New Mexico 

2010 12 x 12 Harwood Art Center, Albuquerque, New Mexico

2010 “Synesthesia” Harwood Art Center Albuquerque, New Mexico

2010   Plane Alteration Abode, Brooklyn, NewYork

2010  “Texas National 2010” (curated by Judy Pfaff), Ledbetter Gallery, Nacogdoches,Texas

2009  “Material Construction of Space”, Vox Populi, Philadelphia,Pennsylvania

2009  “Tumbleweed Assembly”  Harwood Art Center, Albuquerque, New Mexico

2009  “At Last” Ken Jones Jr Fine Art, Easton,Pennsylvania

2007   Art Now Fair, Miami Art Fair Repetti Gallery 

2007  "Of Line and Volume". Cake. Los Angeles, CA

2007   Vicksburg Artist Guild Annual Show  (guest Judge) Vicksburg, Mississippi 

2007  “Dimension: Determining the Dynamics of Space” (Curator) Repetti Long Island, NY

2006  “Mississippi Invitational” Mississippi Museum of Art; Jackson,Mississippi 

2006   Group Show, Tag Art Gallery, Nashville,Tennesse

2006  “The Kitchen Show,” Attic Gallery; Vicksburg,  Mississippi 

2005  “Visqueen Wonderland,” Fondren Traders; Jackson, Mississippi 

2005   Represented by Juniper Sky Gallery; Ivins,  Utah 

2005  “Something Between Us,” White Lions;Los Angeles, California 

2004  “Japanese Summer” Cake; Los Angeles,California 

2004  “Export,” Fondren Traders; Jackson, Mississippi

2003  “The Occidental Tourist,” Fondren Traders;Jackson, Mississippi 

2000   Solo Show at Posh; San Francisco, California 

2000  “Selections,” Yerba Buena; San Francisco,California 

1999  “Ground Work,” Place Pigalle; San Francisco,California 

1998   Solo Show Edo Salon San Francisco, California 

PUBLICATIONS AND MEDIA

2010  Land Art New Mexico Book

2008  Featured in BushwickBK.com

2007  LA Times Image Section 

2007  Skirt Magazine “Seven Degrees of Being Me” 

2007  Vicksburg Post “Up and Coming” 

2006  Jackson Free Press Review of Ms Invitational

Artist’s BIO:

Rebekah Potter is an American artist whose sculptural practice explores how objects carry memory, movement, and cultural exchange across time. Working primarily with hand-built paper, reclaimed materials, textiles, pigment, and found elements, she creates singular works that exist between sculpture, artifact, and imagined history.

Drawing inspiration from traditions encountered through travel, decorative arts, architecture, ritual objects, and vernacular craft, Potter does not seek to merge cultures into a single narrative. Instead, her work acknowledges the distinct histories embedded within materials and forms while exploring the shared human impulse to preserve, transform, and imbue objects with meaning.

Each body of work begins with research and intuition rather than predetermined outcomes. Through layering, repair, surface, and patina, her sculptures suggest lives lived before they reached the present, inviting viewers to consider how objects accumulate memory through passage and use.

Working under the studio name DaPopPop, Potter creates one-of-a-kind sculptural works, including illuminated and non-illuminated objects, that occupy the space between contemporary art and collectible design. Her practice is grounded in the belief that objects can serve as quiet vessels for curiosity, cultural dialogue, and human connection.

ARTIST STATEMENT

I think of objects as travelers.

They carry traces of the hands that made them, the places they have passed through, and the meanings assigned to them over time. Whether real or imagined, these histories become part of their presence.

My work begins with an interest in cultural memory—not as something fixed, but as something that moves, changes, and accumulates through exchange. I am drawn to decorative traditions, vernacular craftsmanship, architecture, textiles, ceremonial objects, and overlooked artifacts from many parts of the world. These references remain distinct; they are not blended into a single identity. Instead, they exist in conversation, reflecting the ways people have always borrowed, traded, adapted, and carried ideas across borders.

Each sculpture is built slowly through layering, painting, repair, and transformation. Materials are allowed to retain evidence of their making. Imperfection, wear, and alteration are not concealed but become part of the work's language, suggesting objects that have endured, migrated, or been rediscovered.

I am less interested in creating objects that explain themselves than in creating objects that continue to unfold through repeated encounters. I hope they resist immediate certainty and instead invite curiosity, allowing each viewer to bring their own memories, histories, and associations to the experience.

Ultimately, my practice is an exploration of what objects become over time—and how, despite the specificity of their cultural references, they can remind us of a shared human desire to make meaning through the things we leave behind.