Joan Michell Foundation, Journal
"Often my work is described as “monochromatic” or using a “limited palette.” While that probably gives an accurate visual description, color is very important to me. I just use it in a quieter way. I liken my use of color to a conversation. Some people walk into a room and say “hi” to everyone. Some people find one person and spend the night talking to just them. I am that latter person."
Neddy at Cornish Award
"I labor on a piece not only because I was raised to believe that identity and work are linked but because I fundamentally believe that the more time you spend with a piece, the more kind of care and love and intention and focus you put in it, the more kind of ... presence it has."
Beyond the Studio Podcast
On how being a parent has helped her become a better artist, be more strategic, and solve the time and money equation, how she resists jealousy on social media, and connecting over shared vulnerabilities.
Seattle Art Fair Blog
"A good figure drawing breathes,” she said. “You’re drawing something that shows your humanity by you drawing it. I try to make that in the work even though they’re sometimes made out of staples or are lots of little marks.”
art ltd. Magazine
BY AMANDA MANITACH
"Gherard’s works require close encounter—with nose practically pressed up against pieces—an inspection that asks the viewer to slither side to side to grasp the play of shadow and light and the velveteen sleekness of the graphite. The density of the material at such quarters is gravitational."
BY GARY FAIGIN
"What animates the picture is the artist’s extreme attention to the marks of her brush, and the fresh and non-repetitive way she creates form and light with quirky and unexpected combinations"
BY JEN GRAVES
"People keep returning to the oddball magnetism of Gherard's art, because it is such queerly, fundamentally good company for humans."