Since receiving her MFA from the Tyler School of Art and BFA from the Hartford Art School Weiskopf has been written about in Artnet, Gallerist NY, DNAinfo, the Contemporist, Art Nerd, the Hartford Current, the Brooklyn Rail, The Huffington Post and various blogs. Her NY D.O.T solo Public Sculpture exhibition of Unparallel Way has been written about in over 30 countries around the world and published in City Embellishment and Urban Design II among others and has since been acquired by the Bushnell Sculpture Park, Hartford CT and CT Governor Malloy's Residence on temporary loan. Weiskopf was nominated for the Rome Prize and has been awarded numerous fellowships and residencies including the Artist Pension Trust, Vermont Studio Center and the Wassiac Project. Weiskopf's works are represented in both private and public collections. Her recent Solo Exhibition, Pixan Paths//Higher Roads in May 2016 landed her on a live TV interview with Bronx Net TV and in further publications with The New York Optimist, Artnet, Royal Flush Magazine and others.
The common thread of my work incorporates the energy of flow as the tie to illustrate the odyssey of life. Through the use of abstraction and metaphorical allegories I create pieces of our paths like physical glimpses into the great mystery of the universe and our place within it. This process allows me to discover patterns like sacred geometry and see connections to grasp the unexplainable as I were able to trace the path of life. These fields of paths convey a feel of no beginning and no end, often fragments of linear abstractions like partial ruins and parts of maps. Lines dominate flat planes like tracks of paths suggesting references to aerial views of fields, doorways, columns, cave painting, tapestries, celestial lines and markings, where we are certain we have left a trace of our paths in this digital world.
Working freehanded, I often employ unconventional techniques in a laborious approach by mixing a wide range of materials such as aluminum, plaster, cement, dry oxides, and dyes with methods from printmaking, sculpture and drawing to employ a multifaceted tactile surface and approach resisting categorization. Scientifically, she explores methodical modes in composition and execution while always inviting the spontaneity of the inherent properties of the material to create unplanned nuances that reflect, inspire, translate and guide the natural course of her actions.