And then. It was monday.

Both shows are up, Zeitgeist in Pioneer Square, Seattle till the end of first week in June 2018, and Foundry Vineyards till the end of July 2018.

How do I explain the stake in the ground that each body of world holds within its self. 

The power of being alone while maintaining all of my being.

The power of creating my very own magical realism.

What more could I want, but to keep on going! Try and catch me if you can. I would love to talk about these projects and how they are fed by the surreal work I am building for Woodward Canyon. Oh yeah, did I tell you? I am their girl. 

15 Artist.jpg

I am going, are you coming?

Incidentally, I am working on array of wonderful projects 

    that have a had 

crossover kismet love affair, 

    and its a long time coming.

Willingness, between projects, is what brings form to the dreams. Don’t you think? 

In, “A field guide to getting lost” by Rebecca Solnit. 

I’ve been plunging into the verbal representation of: 

the in-between. 

Finding sentences that make me reach for the pencil 

that has fallen off the night table, 

and I’m rooting around with just my hand- 

fearing to look away from the antidote. 

    Because, in the Blue of Distance part 1, she says 

                            things like 

    “in which the near and far fold into each other.” 

Am I am thinking… oh yeah. 

    This is where I’m going. 

Dowsing for the surreal. Giving sensation formal. Orchestrating the polyphonic self. When the subcutaneous sensation occurs, I know I have shown up. 

By being fully present, and documenting where that is. 

From each part of my body, 

    as a mother, 

        an artist, 

            a wife, 

                and an educator, all five. 

Hearing, seeing, smelling, touching and sensing. All five. 

Without my emotions dictating me, I am left with 

    all I have ever been all at once. 

And this, ladies and gentle humans makes a very different picture.


I am going. Are you coming?

Yesterday, I went public with my new work with this image. There is nothing like a shot in the arm from social media to tell you if something is eye catching or not.  My hand will be along side Kim Nemeth's latest weavings at Foundry Vineyards, May 4th to July 31. 2018. You coming?


Only. There. Then.

Photographs are a force of all my senses. When successful, the images are every part of myself, present from every period of my life.

Control, and dance and life and death, and real.


And only there then.

finding the unknown in every moment

Even coffee couldn’t help this morning, while children slept and the husband continued to rage war on the art world. I sat with the thought that any moment is still unknown. I find my self thinking so blankly. So very blankly. 


7:26 am

In one moment it is different. And “the it” changes again. And again, and again. 


8:29 am



The truth of now

I would say the website is due for an overhaul. Short of that. I have reopened the link to my photographs. There is a great deal to be seen. With the coming year I will be continuing my work in this vein, with a Photo show slated for 2019. Follow my eyes. 

For the day.

True enough. The forests of Walden, an eccentric home life, and the traditions of large format photography conspired.   With motherhood still leaving the gifts of used tissues and multitasking lists in her pockets, Augusta returned to mark making and photography. Her work is influenced by walking, and watching plants interact like her children, lover, friends, and foes.  Augusta constructs art to redefine spaces, reflecting where she has been and where she wants to be. 

Art Squared, (or why I want to punch people buying art from box stores.)

For the last five years, I have donated an idea and used summer hours. I work through 10 six by six squares for Art Walla's fundraiser ArtSquared. Selling about 6 to 9 each year, this feat always shows me what worked and did not, in a furiously fast experience, and without much discussion. I do it for the greater good. Hell, I assume we all do. 

It gives an opportunity for the community to buy and live with art. For $36.00 the pieces are really small, and for someone like myself, they look like sticky notes placed on my walls. This is not super attractive, and yet it reminds me that: oh yes- I like this artist. I need to follow their thoughts, and when given a chance, buy a larger more thought out work. 

For now, this will do, until then. 

So why the violence?

Sexy tree creatures and fear, again.

The mullen was in awe of the mad sexy beast of a tree. Me too.

Sexy tree creatures

So I have continued the photography at full force, and what seems to be the linking sensation is - song. Or rather the fear that induces song. The shock to the system has really gotten my childhood repertoire up to the forefront of my mind. "Just a boy and a girl in a little canoe..." shields be from cougars. Whistling random Mozart tunes keeps the rattle snakes away. I only wish the made up opera would make the star thistle pull itself up and be gone. 



In honor of all things great and small. 

 Miniature Theater found in an antique store in Sante Fe, New Mexico 2017

Miniature Theater found in an antique store in Sante Fe, New Mexico 2017

Why the alter? Is it not the most religious route? For a woman who believes in the sun and the moon and the stars- why this? If Mary Oliver suggests "Attention is the beginning of devotion"-  does she not mean, the attention extended to all things great and small.

If art is in relationship to the mind and body, these alters are miniature theaters of process. I am curious about the attention that concave space can create. Innate by design, the moveable feasts offer different things: blinders, reflecting sound, solitary space or that one little thing that I want to show you. A series of alters - In honor of all things great and small. 

Boca de Chorro

I thought I had known New Mexico before. This time, I had just watched “I Love Dick” and I had been summoned.

 Shadow Tree, Cynthia Patterson. Taos, New Mexico 2017

Shadow Tree, Cynthia Patterson. Taos, New Mexico 2017

I was sent for by the artist Lynda Benglis, to share her desert studio space. She decided I would take leave of my family, and work on my art. Using photography, drawing and sculptural ceramics, I processed my abstract allegories.  She in turn started what she wanted- the Boca de Chorro residency.

Lynda and her hands. New Mexico 2017

In revisiting New Mexico I learned how wildly young I had been before. Standing calmly I held my space quite differently, out in the desert alone. Now, a woman in my forties, I held the responsibilities of children, marriage, and time that can not be attained without jumping the ravine.

 Inner Garden. Sante Fe, New Mexico 2017

Inner Garden. Sante Fe, New Mexico 2017

The body of work evolved from making spaces to live in, to alter spaces that one can relate to. The shifting of home-centric meditations to movable feasts.

 The one that got away... The first alter, before it broke. Saxe Patterson. Taos, New Mexico 2017

The one that got away... The first alter, before it broke. Saxe Patterson. Taos, New Mexico 2017

The first showing of this body of work will be slowly replacing Margaret Walter's "40 Years of Painting Out". A closing event will be posted for September, when the new work has taken over the space. Visit through the month as the two shows merge and shift.

Studio Two Zero Two

202 Main Street

Walla Walla, Washington

 Her self and her dress. New Mexico 2017

Her self and her dress. New Mexico 2017

This blog is made from process images. 

Building for my possibilities

Funny thing, watching my husband Dylan jump on his old commuter bike to restart the habit. Early work means five am departures in a sleeping town. I had picked out the bike for him, with my idea of what he would want. Green. Lights. A water holder. Multi gears. Panniers. The works. Paid with my precious flower money all those years ago. Back when George W was the world’s worst president, and oil was the reason for war. Albeit paired down, the top notch set up worked as his means of commuting for over 5 years. As things shifted, and so did Dylan’s attention. The sitting bike became my son Henry’s ride, before his license and the tires of rubber became four.  

Last night Dylan stated, at dinner with friends, he had renewed the effort, to see if he "needed" a new bike. Truth was, he had always wanted something different. Silence. Single gears. Stream lines. Blue... or "murdered out Black." Permission was only self granted with practiced dedication.

This could be said about my studio, I used the space to prove that I would. Coating every surface with the urgency of time lost, and ideas spinning. Machines piled with new projects, tools were added and learned and improved. Work covered the walls


Fuses caught on fire, bugs crawled through cracks, and the ceiling shed over freshly gessoed surfaces.... when squirrels scrabbled over head. This was nothing in comparison to the wind, the heat and ultimately the cold.

This spring, new electricity, insulation, wood sheeting and drywall makes for a new space, in an old garage. Stable, safe and clean come with a reckoning. 

In 2013 I had my first break out show in our valley, at AMO ART. A year of time, to build a show. I pushed myself off the kitchen table scratching into space and mass and idea. Atmosphere paintings, massive drawings, and a free standing screen took up the lion share of the gallery. I made the work and then I presented myself as an artist. This was no small feat, for a woman who knotted and tied herself with the obligations of family. 

Much of that work sold, and found homes. I stored the screen. Made of 6 sheets of 4 x 8 foot sign wood attached to 6 handmade frames. These peculiar frames, that I assembled out of joist braces and 2 x 2 stick lumber, were bigger then needed. I could not manage to make them fit. Fitting meant more cutting, and more complications than I was prepared to do.  Pulling the screens apart I recalled the pain and process of assembling them.

 The first studio. The concrete as my table, and the fence as my walls. The z-hangers still reside on the fence as a marker, and the house has new owners.

The first studio. The concrete as my table, and the fence as my walls. The z-hangers still reside on the fence as a marker, and the house has new owners.

As this was several years ago, in a land before a studio space. I worked on a hot open drive way. The concrete as my table, and the fence as my walls.  My comfort tools were mostly for painting and plastering. Things that had to be built were made with a hand saw, and my husband’s screw gun (which was I constantly in trouble for using). Regardless, I was determined to not need other people’s help or worse - to wait for other people to help. 

Needless to say, the screen was an undertaking I was proud to store. This was my work and a symbol of my leap.

Yesterday, like all dreams that come to an end, I held my breath. Maybe I should show the screens one last time, creating rooms that are…. I opened the stored panels, and noted the perfection of the screws placement. I easily removed the stick frames off the back. Low and behold, the work did not hold up. The work that I had stored with insistence, was not what my memory had assumed. My preconceived notion was an ungrounded idealization - like a crush, that is consummated with a lukewarm kiss. 

Vindication. By placing a wood layer, I can attach any work to any place in the wall. The power of the screens, remains as a blessing. The wood sheets are being hung as I type.

Let no stud hold me back. 

Sidenote: This process was months, if not years, in the making. After multiple diversions, and self ridicule, the studio was disassembled and the project began. Thanks to my friend Molly's urging, I simultaneously I began to obsessively watched Jill Soloway, Elieen Myles, & Chris Kraus's I love Dick.  

Mari Jalbing

Many years ago I was invited to a luncheon at Sonia Schmitt's house. Sonia had been both a mentor and a friend for many years. She was the first to hire and more importantly instruct me to become a florist at her restaurant, White House Crawford, in Walla Walla. For nine years I built flower arrangements at her restaurant, and over the course of 17 years, we have become friends.

I don't know what year it was, that Sonia invited a group of women, artists or art enthusiasts, to a luncheon at her home. We were gathered to honor a visiting artist and Sonia's dear friend who  was having an art show at the administration building at Whitman College.  

What I do remember was the artwork, paintings with college and brilliant color. I remember moving around both at Whitman and at Sonia's house with an electric feeling. I knew this. I got what it was. I liked this woman. 

She was funny, and humble, and laughed.  She made work of many layers, colors, and collage. I had been researching Romare Bearden, for Carnegie Picture Lab. I was very attuned to the thought process behind what collage meant. Or rather, what it meant to me- A confluence of sorts, different ideas, each addition to an image came from a different standpoint. Fitting together, her work made lush landscapes or a botanical representations. 

This was all before I was making my work so seriously. I was dabbling. I still held the reins close to my heart. I was deep into Carnegie Picture Lab then. The Napkin Ring Project had yet to start. Walls were still being carved into, wood was burnt with patterns, drawing developed on tiles, I had yet to scream - I am an artist - at the top of my lungs. But I was standing on my toes and I was holding my hands close to my heart. I knew I was about to leap. When I met her.

Admittedly, I was taken, if not nervously so. If I may be so bold, we liked each other. There was a bit of an exchange. Back then I didn't have much to follow up with.  I don't know why. I certainly was not comfortable with my own work yet. I wasn't traveling out into the world. I don't even know if I was reading novels. I was rebuilding myself. Life was my art program, my gardens, my small children, and let us never forget, my husband's work.

I asked Sonia about her, because Mari was first, her friend. I laughed when I heard her husband had been made a federal judge by President Bush. Oh dear, a conservative federal judge not my kind of people. I laughed heartily, as if I knew. Gah, I was so ignorant.

Today while I was driving my little blue truck, doing errands and watching the sky, NPR again talked about the Seattle Judge Robart and his decision to contest President Donald Trump's band of seven countries, primarily Muslim immigrants. Again I heard about the dangers that the world was racing towards. Again I heard the fear that blinds. 

Who stands up to fear? What exists within the fortitude to be able to do this?

Today a man, who I once laughed at, stood up to halt the Trumpain. Today a conservative federal Judge, with quiet intention amidst a few bumbles and mumbles, sat alone on a bench in Seattle and spoke for our country. His word granted a temporary restraining order against President Trump's executive order. A man who makes his life with a woman. A woman who is an artist. An artist who uses layers, and colors, with bits and pieces of differing views, and pasts, and minds to build a new picture, a collective picture. This artist is Mari Jalbing.

Gifts of Generations Pasts

In a thought towards collecting my writing in one place. I am sharing an article written from The Carnegie Picture Lab Newsletter, 2014. It was at a time, when my work with Carnegie Picture Lab was starting to round up. Why yes that is me, with my handsome grandfather, in Concord, Massachusetts probably around 1975, just before my father lost his hands. It was a piece that helped establish a cycle of woven writing that I follow still. Just like the photographs that I make whether I am in New Mexico or Maine, my writing follows a similar folding, and then unfolding.

 From the Carnegie Picture Lab Newsletter.

From the Carnegie Picture Lab Newsletter.

Letters to the you in me.

excerpt: Jan. 25. 1 7

White flag

for the grenades

that we all feel like.

Is it not

that we come from privilege that 

we can choose to not honor that privilege

and then expect to keep that privilege.