BIOGRAPHY

Sunni Mercer, MFA, NCIP Sunni Mercer holds a Liberal Arts degree in Communication, and a BFA and MFA in studio art. She is an NEA Regional Fellow in high craft and is certified with the National Parks Service in Interpretive Planning. Her work is archived at the Smithsonian Institution and she has shown throughout the country and internationally. Sunni has taught Art History at the University of Central Oklahoma as an adjunct, and has been a guest presenter at numerous universities, businesses and conferences. Sunni served as Director of the Oklahoma Visual Arts Coalition, and as Director of the Oklahoma City National Memorial Center during the museum’s design phase. With experience in community and multi-interest collaborative projects, she was selected for the National Endowment for the Arts, “Artists & Communities / America Creates for the Millennium-National Registry.” Among her noted community collaborations is the “The Living Room” a three-year art project with the Wichita Art Museum in partnership with group of Wichita nonprofit organizations. Her design for the Federal Employees Credit Union Remembrance Garden in Oklahoma City earned her a national award for interpretive design. Another consortium art project she developed, “The Measure of My Strength” resulted in an exhibit and publication, engendering awareness and support for abandoned women dealing with HIV/AIDS in Swaziland, Africa. Sunni’s sculptures, interpretive design and installation work have been the subject of dozens of articles in a variety of regional and national publications, and her artworks are held in private and public collections across the U.S. and abroad. In addition to her studio work, Sunni owns Mercer Associates, established in 2002 which provides consulting in interpretive and strategic planning for museums and exhibits. Sunni is a published author with two novels, TIG and THELMA currently available and her third DEIRDRE scheduled to be released in 2024. Sunni is married to Gary Mercer, President of Mercer-Adams Funeral Service. They reside in Bethany, Oklahoma.

ARTIST INSIGHTS

How are your background and life experiences connected to your art?

I never had art lessons growing up, but at an early age I was creating objects in my room and using them as props for my stories. My first university art class was after I was married with two children. I have had the good fortune of having great mentors and teachers along the way, including George Bogart, Dr. Susan Caldwell, Christopher Brown and Ivan Karp. A residency at the Vermont Studio Center the summer before my graduate work made a huge impact on my art, as did classes and residencies at Quartz Mountain Oklahoma, Manchester Institute in New Hampshire and the New England School of Art and Design in Boston. I have had the opportunity to travel and provide art and architecture tours for groups traveling across Europe. Time spent there deepened my appreciation for Art History while impacting the way I see. The beautiful effect that time has had everything from art to buildings in Europe directly influenced my use of patina and the means by which I artificially distress my assemblages.

Who are some of your biggest artistic influences?

Alison and Betye Saar, Magdalena Abakanowicz, Primitive Mexican Retablos and Santos

How have you developed your artist career?

My first major exhibit after graduate school was at OK Harris in SoHo, NYC. This kick-started my art career. After that, I maintained a gallery track for several years. I have participated in many group exhibits and competitions. I have shown in several museums over the years. Initially I promoted my work through my galleries. Beyond this, I have participated in several collaborations and community projects. Each of these tracks have provided opportunities for interviews, videos and general PR. I keep a very extensive archive of everything written or produced on my work. Early on I built a studio to accommodate my art making and I have always contracted with professional photographers to document my work. Whenever possible, I engage in programs that keep me on my toes, for example, I was trained as a teaching mentor for other artists through ARTIST, INC.

What does your artistic work intend to communicate to its audience?

I would hope that my art would always invite the viewer to look closer, and discover their own story within the work. Mostly that they would experience the mystery and beauty of reclaimed refuse.

Does your work comment on any current social or political issues?

Yes, on occasion, but overall, they are abstract sight poems that invite the viewer to engage on an intuitive level. If my work resonates as making a statement it would be that the artwork, a valued commodity, has been made from salvaged debris.

Do you have a particular story that stands out from your career as an artist?

Prior to the MFA thesis exhibit, the university arranged for a renowned artist make final studio visits. When he came to my studio to critique my art, he mentioned how he knew of a gallery in NYC that would love my work. He gave me the information and I wasted no time contacting the Director. I sent them images of my work and they got back to me and arranged an in-person meeting. Two months later my husband, Gary and I flew to New York and made our way to the gallery. I was shocked to find the gallery had closed and no one had contacted me. Needless to say, I was devastated. After the shock wore off, Gary mentioned we should make the most of the weekend. He wanted me to take him to the gallery I would be most thrilled to exhibit my work in someday. We were already in SoHo so I took him to see OK Harris. I had been there before, and had fallen in love with the gallery, the space and mostly the art they exhibited. We walked in and perused the space. As always, the art was amazing and although I enjoyed seeing it, I felt overwhelmed and wanted to leave. As we started to go, Gary insisted that since I was prepared, I should show my work to the folks at the desk. I already felt humiliated and his idea seemed over-the-top ridiculous to me. It was so far-fetched I thought, “Why not? The most they could do is say, “You’re kidding right? Are you crazy?” So, I went for it. I took my portfolio case with six of my small objects and my slides and walked up to the desk. I asked how I could go about submitting a proposal for a show as I handed my slides to the receptionist. An older gentleman with a large turquoise necklace and a cigar in his mouth turned and grabbed the slides from her hand. I did not know at the time that the man was Ivan Karp. I honestly thought he was somewhat rude. In a gruff manner he said, “You got something for me to see? Well put it up here.” I handed him the examples of my work and in less than five minutes I was being whisked off to an office. I stood in shock like I had just jumped into ice water. “I want her in the front gallery next February.” “But we have ‘so and so’ scheduled.” “Move him. I want her in the front gallery.” The man with the cigar turned to me and said, “Good work, but can you make 350 of these by next February? Enough to cover three forty-foot walls?” “Yes, sir. I’ll make it happen.” “All right then. Don’t expect your reception on a Thursday. Johns (Jasper) used to whine about that but I make the decisions here. It’ll be on a weekend.” He abruptly turned, pushed through the door, and left me with the curator. This is how I met Ivan Karp, the man who launched my art career.

What is one thing you would like your audience to know about you?

I am very passionate about letting my work tell me what it needs, and then trusting it..

Which current art world trends are you following?

I am interested in the trend toward abstraction that involves a love for the figurative, and the growing movement toward collectors that are seeking more than to own a work by a well known artist. I am excited about the growing population of collectors who want a deep spiritual connection to the art they acquire.

Why have you chosen to sell your work in the 1515 Lincoln Gallery gallery?

I believe 1515 Lincoln Gallery has the potential to create a fresh approach to selling fine art in Oklahoma City. I wanted to be part of a gallery that would represent my work in an exclusive manner, which I believe lends a greater sense of value to the art. I am also pleased that 1515 Lincoln Gallery intends to market artwork internationally.

What do you believe makes 1515 Lincoln Gallery distinct from other galleries?

There is a level of professionalism at 1515 Lincoln Gallery that is refreshing. From my first visit I have felt like the entire staff is focused on how to best serve the artists, the clients and the community. The gallery location is excellent and the facility is stunning. I believe 1515 Lincoln Gallery will raise the bar for the Oklahoma City art community and our existing galleries.

WATCH

Artist Talk with Sunni Mercer

ARTIST STATEMENT

Sunni Mercer, MFA, NCIP Sunni Mercer is an NEA Regional Fellow with experience in studio art and interpretive design. Her signature work is assemblage sculpture and conceptual /community art in context installations. Sunni’s work has shown throughout the country and internationally and is archived at the Smithsonian Institution. She has received numerous awards and grants in both art and interpretive design included among them the NEA “Artists & Communities / America Creates for the Millennium-National Registry.

Sunni Mercer’S AVAILABLE ART

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