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‘Making images is like drinking in the world through my fingers’ / Making images is my addiction. The earliest recall of the process is painting prone on the floor with a wet brush, and pale children’s watercolours, at about 4 yrs. of age. Carrying the brush everywhere, dipping it in plain water, sans colour, making harmless marks on everything. was the beginning of the addiction. When I could not, I traced the faces of people in my environment with my tongue on the roof of my mouth. This tic became a cohort well into adulthood, and lingers still. Preferring paper over canvas; its strength, texture, receptivity and ability to hold swift attacks of colour; it is an awesome companion. The use of Japanese Papers and Egyptian Papyrus is an aesthetic experience, often resistant , always a challenge. The pleasure and struggle of resistance brings to mind an early art school experience, at the Minneapolis College of Art and Design, which favored abstract expressionism. At the age of 17, struggling to creatively comprehend the method and thought process of abstraction, absorbing dissertations on ZEN, hoping to discover the ultimate method of painting, I turned to endless doodling on plates, pushing a combination of mustard and ketchup around with a knife, determinately. I have graduated from the need to understand, and my only visible idiosyncrasy now, is to either blur my vision or work without specs. When viewing the progress of the work with glasses on, I am hopefully surprised. It is an internal force which explodes, allowing generous elation. This joy fills the process and becomes the process itself.

Taglienti’s academic training in drawing and painting provides a basis for her thought process. She is a descendant of the 16th century Scribe and master calligrapher, Giovannantonio Tagliente. Inspirations were Oskar Kokoschka, who lectured at the College of Art and Design in Minneapolis, directing students to use more color, which she adequately applied; Marcus Orellius Renzetti, ‘Pop’, in Arden, Delaware, who through long conversations and quick charcoal interpretations was a willing mentor; her parents Carmela and Giuseppe Tagliente, who purchased that paint box and brush so very long ago, and her children, who understood her preference for painting over cooking. Her obsession is intense color, with images drawn from imagination and current thought. Taglienti has exhibited internationally, with work in personal and corporate collections, to include, New York: Mt. Sinai Hospital, Long Island Traveling. Chicago: Collins,Miller,Hutchins, Brudno’s, Ray Kujansen,A.S.I.D. Hoholulu: Hitch& Assoc.,and Mexico. Images have been used for Edward Fields Custom Carpet; Another Chicago Press, Lakeview Press, Ideals Publications, American Airlines through Edward Fields, Everfast Mills, Perren Gerber Display, Recycled Paper Products, Arizona Poetry Society. One woman exhibitions: Galeria Condor / Mexico. Natalini / Chicago. Artisimo / Scottsdale, Paradise Community College / Phoenix. Group Gallery exhibitions include Delaware / Pennsylvania / New York / Minnesota / Iowa / Wyoming / New Mexico / Arizona / Hawaii / Mexico. In Chicago, she pioneered, with other artists, Art Meets Labor, bringing coal miners , who also painted, and poets from mining towns in the east, to exhibit and read in Chicago. Arizona exhibitions: Sky Harbor Airport, Phoenix Little Theatre, Hormel Mansion, Artisimo, Poetry In The Park, Renaissance Square, ArtDetour, Paper Heart, MonOrchid,Thought Crime, Northern Pioneer College, and Paradise Valley Community College annual exhibition. Multi Media: Josie and colleagues contributing musical compositions and poetry. Awards: Artist Guild Chicago / Print & Drawing / Painting / 3 yrs. 1970’s-80’s Education: Minneapolis College of Art and Design,

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