WOSEBAGGER: WHO?SEBAGGER
About Angelica Wisenbarger
Yeah, my last name's actually Wisenbarger. A telemarketer once violently reconstituted my name--Wosebagger is how it came out. I relayed it to some friends, some of whom were kind enough to keep calling me that. So there's that detail out of the way.
I grew up (if I did at all) in Guernsey county Ohio, in the nowheres abutting the city of Cambridge. Until I was about 7 my family (I am the only child--however, I am several people) lived in a trailer beside my grandparents' house, then moved just down the hill. Cars and horses surrounded me. I played in the junkyards that straddled the back fields, watched my dad run his body shop, drag race, and restore many an old specimen. I hung out in the woods. I read and drew constantly.
After high school I couldn't figure out what to do. I got into the San Francisco Art Institute and rejected it out of cowardice in favor of nearby Denison University, where I figured I'd get a more 'sensible' degree. Well, that didn't work out--I studied classics there.
Having renounced my first opportunity to get the hell out, I spent much of my late teens and early twenties trying to figure out how to get as far away from Ohio as possible. The motto of our small town middle school had been, after all, "If you get your start here, you can go anywhere." John Glenn, after whom that school was named, had got pretty far away indeed. He went to space.
Studying ancient Greek and Latin literature was a weird choice I made for weird reasons, but I followed it to its conclusion. I did this for 12 years, getting my MPhil at Cambridge (yeah, the England one; Queens' college) and eventually defending my dissertation at the University of Cincinnati (you see, I failed to get out of Ohio) in October of 2021. So it's Dr Wosebagger. The only wound I can heal is ignorance of the ablative case. One thing I did pick up in grad school that influences my painting was an appreciation of medieval manuscripts on parchment/vellum and the illuminations of fine books of hours and other richly illustrated stuff.
While I was at Denison E. "S." Griffith became very important to me, and introduced me to birds I'd never bothered to know about. I was charmed, but I sat on this for years. In about 2019 I painted him a grouse, then a woodcock ... you see where this is going. I did not want to stop. On one hand, I simply enjoyed painting things for him. On the other, the birds themselves were a joy to paint and learn about, with fantastic textures and visual appeal. And they came with such an interesting cross-section of other enthusiasts.
Once I started up an instagram, it became pretty clear that the people who love the birds love art involving the birds. I had a round of prints made at Robin Imaging in Cincinnati, and to my great pleasure, people were willing to buy them. It tickles me afresh to this day when people express an interest in owning my art. Yet, for reasons of cost, inconvenience, and time, I do not sell much.
I have illustrated an article in Project Upland, contributed to Denison Magazine, and have just begun to seek an agent for my novel, Smoking. I digitize stuff for the John Miller Burnam Classics Library, and I teach Ancient Greek and Latin at UC.
I have a weird, unnecessary crush on Richard Nixon.
This seems to exhaust relevant surface-level information about me. If you want to know anything else, you can write me an e-mail or a letter. Thanks for stopping by!