Ties that Bind Sneak Peak and Print Sale!

SkatesintheMulberries_9957lrSkates in the Mulberries, 2014
6″ x 9″, Edition of 20

Ties that Bind sneak peak and print sale!

I am having a print sale to raise funds for the final execution of my Master of Fine Arts Exhibition that opens April 25, 2016. Six photographic prints from my body of work Ties that Bind are available to purchase. Each image is 6″ x 9″ printed on 8.5″ x 11″ archival, premium luster inkjet paper. The prints are signed in an edition of 20 for $50.00 each. This is a 50% discount! All proceeds will go towards paper, printing / mounting, framing, an exhibition catalog, and promotional materials.

Visit my website to make a purchase: http://deedrabaker.virb.com/print-sale

Everyone who purchases a print from this sale will receive an exhibition postcard, as well.
Thank you for all of your support!

Please scroll down to read more about the body of work and the exhibition. 

A Light Dusting, 2015
6″ x 9″, Edition of 20

Katelyn and Her Horse, 2016
6″ x 9″, Edition of 20

MothersTrinkets_5617lrMother’s Trinkets, 2015
6″ x 9″, Edition of 20

MomsCollegeSeniorPortrait_5884lrMom’s Senior College Portrait, 2016
6″ x 9″, Edition of 20

YellowandGreen_9742lrYellow and Green, 2014
6″ x 9″, Edition of 20


Through portraits, environmental still lifes, and landscapes, Ties that Bind explores the interconnectedness between my mother, three sisters, two nieces, and myself. The project examines ways that our identities interweave and manifest as a result of experiences together at our family home in rural Kansas. Inspired by Patricia Kline’s statement that “For most of us our identities are very much tied to where we grew up,” environmental still life and landscape images made within my family’s house and land reflect the visceral connection between we females and our land, home, and familial keepsakes and objects.

Intimate portraits capture the emotional, experiential, and physical bond found between we women. In her curatorial statement Not My Family Values, for an Art Photo Index Exhibition, Dr. Rebecca Senf states, “Family is at the heart of how we identify ourselves.” For the females within my immediate family and myself, the experiential and historical bond centered around the idea of a homeplace (and the belief that family traditions can only occur in that place, while among family and its keepsakes) greatly influences and informs our identities. Ties that Bind explores this idea through a visual investigation of we women in the family, objects within the house, the surrounding land, and family archives and traditions.

My MFA exhibition featuring this project will consist of approximately 20 framed, color photographic still images at 20” x 28” and 24” x 34”. A color video will be approximately one to three minutes in length and projected from an elevated digital projector onto the gallery wall at a larger than life scale. The video will play on a continuous loop. A one-of-a-kind artist’s book will be 8” x 10” in scale and will be comprised of seven individual pamphlet stitched books housed in a slipcase. Each individual book will have approximately 10 – 14 pages.

Deedra Baker, 2016


Women’s Work

Women’s Work was created with a pinhole camera made from a recipe box and altered cookbooks. This object was chosen to create the pinhole camera because my mother uses the same box for her sewing supplies. I used the pinhole camera to photograph the quilt my maternal grandmother made for me. The overall project consists of image transfers of quilt squares, recipes in my mother and maternal grandmother’s handwriting, and images from the cookbooks themselves. Many of the cookbooks were purchased from second-hand stores, but four of them were from my paternal grandmother. I am intrigued by female lineage and what we pass down from generation to generation through the females in our family.













Deedra Baker 2015

A Slight Hysterical Tendency

A Slight Hysterical Tendency

Connotations regarding the mental state of a female have historically and contemporarily been labeled. Inspired by Charlotte Perkins Gilman’s short story The Yellow Wallpaper, this project investigates female hysteria, a mental disorder attributed to women. Through this notion, a female’s psychological state is conceived as directly related to her reproductive system. This 19th century fiction explores the subordination of marriage, domestic passivity, and the resting cure used for hysteria, which drives the lead character to the brink of insanity.

The photographs in this series use environmental still lives and self-portraits to navigate the literal and symbolic significance of one’s mental state. Common domestic items are used to portray a feminine nature. References to the womb and conception are interwoven with delicate items that represent domesticity and conception. Photographed in my personal space, the series becomes autobiographical because of my own experiences with anxiety and depression.


Will and Good Sense


An Apple from the Earth


Quiet Reverie


Perfect Rest




Heavy Opposition


Place Setting

Deedra Baker 2015

New Work | Explores Notions of Innocence

This project explores notions of innocence and coming of age through the photographing of a preteen. My niece is photographed to symbolize my personal experiences, as well as to provide a universal character for all females who have and will experience the transformation of self through puberty.

Feelings of displacement and quiet struggles permeate my adult life. Through a rural, sheltered upbringing there was a frequent battle between innocence and reality. This body of work explores the loss of innocence through the depiction of an adolescent sitter. She stands in as a metaphor for myself, an anxiety-filled child and adult. The photographs are made on my parents’ property in rural Kansas and depict experiences, memories, and symbolic truths.

© Deedra Baker 2014
Elizabeth Reclines

© Deedra Baker 2014
She Weeps  

© Deedra Baker

© Deedra Baker 2014

© Deedra Baker 2014
Elizabeth Swings

Deedra Baker 2014

Retrospective Innocence

Retrospective Innocence

This project explores the complexities of childhood and the psychological shift that occurs through a loss of innocence. The work was inspired by looking at my own childhood photo album images and experiencing a sense of disconnect with the virtue and spirit in the photographs.

Scanned childhood images from my family photo album were used to create the cyanotypes. The series of cyanotypes were printed on drawing paper and vellum, and then painted, torn, and sewn back together to visually represent the fragmented and transient memory of one’s youth.

To quote Susan Sontag’s On Photography, “A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did exist, which is like what’s in the picture.” Thus, as I experience memories of childhood and the notion of innocence through these images, the retention and sense of purity are fleeting.

© Deedra Baker 2014
Got Me a Cake and Balloon

© Deedra Baker 2014


© Deedra Baker 2014

Is One Year Old

© Deedra Baker 2014

Loot from 4-H Carnival

© Deedra Baker 2014
Jan., 1990

© Deedra Baker 2014

© Deedra Baker 2014
Brianne Took This Picture

© Deedra Baker 2014
At Phyllis Jackson’s House

© Deedra Baker 2014

© Deedra Baker 2014
Slept Through the Party

Deedra Baker 2014

Common Threads, Group Exhibition | Lillian Bradshaw Gallery, Dallas Public Library

Common Threads is a group exhibition consisting of photographic and installation works produced by female artists, who are in varying stages of their artistic careers. While each of these artists has a unique vision and style in regards to their artistic practice, there is a common theme that encompasses all of these works of art. Depictions of domesticity and explorations of female identity are visually portrayed through this exhibition. Each artist draws from her personal experiences and environment to further investigate the current and historic role of females in today’s society.

Exhibition runs from October 9 – 30, 2014
Opening reception with the artists: October 11, 2014, 3:00 PM – 5:00 PM
Curatorial and artists lectures from 3:00 – 3:30 PM

Curated by Kalee Appleton

Kalee Appleton, Deedra Baker, Colleen Borsh, Lynné Bowan, Brianna M. Burnett, Patricia Earl, Allison Jarek, Adriana Martinez, Tesa Morin, Irma Sizer, Dianne Smith, Kristina Smith

© Tesa Morin
Tesa Morin, Sdlogiram-marigolds, 2013

Deedra Baker, 2014

Identity, Memory, and Place: Texas Woman’s University Graduate Panel Discussion

2014 SPESC Conference Proposal: Engaging Possibilities

Panel / Forum

Presenters: Kalee Appleton (moderator), Deedra Baker, Rachael Banks, and Allison Jarek

Title: Identity, Memory, and Place: Texas Woman’s University Graduate Panel Discussion


The panel discussion, Identity, Memory, and Place: Texas Woman’s University Graduate Panel Discussion, will create dialogue regarding the use of photography as an avenue for the exploration of deeply rooted psychological subject matters. Panelists Kalee Appleton, Deedra Baker, Rachael Banks, and Allison Jarek create photographic artwork that explores the themes of identity, memory, and place. As graduate students at Texas Woman’s University, these artists each bring a new perspective from their own breadth of cultural and psychological experiences. The panelists will share their own work and a collection of inspirational materials via visual and literary sources. Within the panel, the artists will discuss the nature of their work both conceptually and by means of working methodologies, which vary from traditional analog photography to digital techniques.


© Kalee Appleton 2014Kalee Appleton, Untitled, 2014

© Deedra Baker 2013Deedra Baker, Vined Identity, 2013

© Rachael Banks 2013Rachael Banks, Superstition, 2013

© Allison Jarek 2014Allison Jarek, Untitled, 2014

The Pattern Lolls, Solo Exhibition

Deedra Baker
The Pattern Lolls, Solo Exhibition

15 – 26 September 2014

Opening Reception:
17 September 2014 · 4:00 pm – 6:00 pm

© Deedra Baker 2014

Cover Image · Vined Identity · 2013 · Archival Inkjet Print

010 Gallery · Student Union
Texas Woman’s University
Denton, TX

Gallery Hours:
Monday – Thursday · 8:00 am – 9:00 pm
Friday · 8:00 am – 5:00 pm
Saturday · Closed
Sunday · 1:00 pm – 9:00 pm

2014 Art Department Alumni Exhibition – Mulvane Art Museum

Washburn University Art Department Alumni

August 22 – October 19, 2014
Reception, September 5, 5:30 – 7:30 PM

Mulvane Art Museum
17th & Jewell Streets
Topeka, KS

© Deedra Baker 2014

Deedra Baker
Lazy Bench Virtue, 2014
Archival Inkjet Print, 12″x18″

Participating artists include:
 Avery Ayers-Berry, Deedra Baker, Timothy Baller, Jason Berryman, Daniel Coburn, Cassandra Cohen, June Melody Duncan, Carol Emert, Laura Engelhardt, Randall Exon, Erika Kjorlie Geery, Carrie Jo Gros, Maria Guzman, Michael Hager, Robert Chester Haggard III, Eleanor Heimbaugh, Kymm Hughes, Robin Hutchinson, Joseph Keehn, Cally Krallman, Ashley Jane Laird, Garrett M. Larson, Jennifer Lutz-Michael, Jake Marshall, Gweneth McClain, Alissa Menke, Michael Mize, Maria Raquel Morales, Beth Neuer, Patricia Nobo, KyoungHwa Oh, Sara O’Keeffe, Tom Parker, Larry Peters, Beverly Dodge Radefeld, Kristopher Roberts, Judith Sabatini, Jennifer Somers, Joyce Cowan Shupe, Katerina Strakhova, Andrew Valdivia, Barbara Waterman-Peters, Lynn Wilson, Carol Yoho, Kathleen O’Toole Zimmerman.

Contact the Mulvane Art Museum Directly:
Mulvane Art Museum
1700 SW College Ave
Topeka, KS  66621

Official Website Updates – New Work, Maternal Kin

Please take a look at my website for updates and new work; I have now included my series, Maternal Kin. This project was created by using DASS Transfer on handmade gampi paper.

Click here to view my website: www.deedrabaker.com

Maternal Kin

This project originates from one’s curiosity in regards to female identity as it is constructed from family origins, self, and society’s perception. Through the use of appropriated family album photographs, scans, and self-portraits, the project brings together a myriad of imagery, which depicts and / or symbolizes female identity through the lens of family, self, and society. The collage style of imagery lends itself to the feelings of confusion, while one grapples with said construction of female identity and its influential sources.

Below is a sneak peek at some of the images.

© Deedra Baker 2014


© Deedra Baker 2014


© Deedra Baker 2014


Deedra Baker, 2014