“Every so often, an artist emerges whose work appears very much out of time—meaning not of this time, or of any other known period—simply outside of time. Artists such as Hilma af Klint or Joseph Cornell could be said to be, in a real sense, timeless. Now in her 80’s, and producing the best work of her life, Patricia Boinest Potter is one of those artists.”

– Mark Sloan, Curator

Patricia Boinest Potter

Potter was born in Charleston, SC in 1940 and currently resides in Anniston, Alabama. She completed her Bachelor’s degree at the Atlanta College of Art,now Savannah College of Art and Design, and received a Master’s of European Studies in Architecture, MESA, a nomadic program: London, Paris and Helsinki. Her father was an Architect, as is her daughter, so the built environment has been a through-line in the artist’s life.

Potter has been a Visiting Professor of Architecture at Auburn University, Iowa State University, and Jacksonville State University. Her works have been included in numerous solo and group exhibitions around the world, including Paris, France; Richmond, Virginia; Santa Fe, New Mexico; Newton, Massachusetts; and New Orleans, Louisiana, to name a few.




Alabama native, Jesse W. Akers has been collaborating with Pat Potter for four years. Not only does the autodidact artist assist in manifesting her vision physically, he has grown into the role of full collaborator.

“I started as an intern first organizing the studio and assisting in assembly of certain works. Eight months in, a personal letter to Pat would hallmark the synchronicity of a creative merge where my roles and contributions would expand. The process has always been and continues to be educational . Though technical and strategical experiments have led to new skill sets, new methods of seeing  have been the most profound and seem to be a consistent vision for the studio and imaginatively persistent to the process.”

He refers to what they do together as a shared intellectual endeavor. Their process involves working in layers. They document each step along the way in creating a new work, so that the snail’s trail can be traced. This form of archiving allows the artists to go back in time, and provides access to the layers after the work is completed. They sometimes work with pre-existing layers as leaping off points for new works.

“In art, I want to create a coexistant understanding that reaches new depths of awareness by way of sensory connections. Pat has been keen as a mentor and  gracious in allowing me to be challenged and enamored by the nature and magic of artistic processes.”

– Mark Sloan with Jesse W. Akers 




  • Christoph Kling
  • Coleman Coker
  • Jason Burgess
  • Claire Boscher
  • Goodwin Smith
  • Whit Kilby
  • Ed Deyo
  • Allison McElroy
  • Joshua Benefield
  • Wes Bowen
  • Ray Whetzel
  • Anita Stewart
  • Tommy Lee Bryant
  • Karren Montgomery
  • Joseph Giri
  • Natalie Couch
  • Jon Burt
  • Landon Shiry
  • Suzen Robertson
  • Brandy Williams
  • Rodger Measles
  • Lydia Measles
  • Bronson Measles
  • Kason Measles
  • Karen Graffeo
  • Olivia Collins
  • Julee Potter
  • Mark Sloan
  • John Reynolds
  • Tori Piper


      Anniston Museum of Natural History

      • Lynn Letson
      • Ariel Weymouth Payne
      • Stan Pippin
      • Mark Lane
      • Reo Benefield
      • Miggy Rilling


      Honorary Supporters

      • Guice Potter
      • Guice Potter III