"The gravity of these pieces is both sustained by and contradicted by the scintillating color, which oscillates in a dreamy space between pale grey and neon extremes. A feeling of neglect pairs with one of nostalgia - the memory of play through the lens of some forgotten unknown. The viewer suspects a betrayal of sorts - the evidence of a puncture, excessive hardening, the material not being what it seems (as with moments where the substrate rolls and congeals to reference unknown biological substance). The referential shape of the canvases allows Briggs to toy with kitsch in a way that introduces an absurd happiness, tempting the observer to ask, “is this too good to be true?”
-Briana Bass, Mineral House Media, March 2018

"Peachy Keen spent the evening talking art (and drinking a little wine) in the Nashville studio of artist Amelia Briggs. We discuss the gendered psychology of the found imagery she uses from vintage comics and children's coloring books and how she subverts narrative in her formal process, which is split between object making and painting."
-Vivian Liddell, Peachy Keen Podcast, December 2017
 

"Artist Amelia Briggs exiled herself to a small Michigan town to figure out if she had the dedication to pursue a career in art. Now, she is the director of Nashville's outpost of David Lusk Gallery, and she talks to fellow artist Alysha Irisari Malo, the co-founder of a new arts organization in Wedgewood-Houston. With CONVERGE, Alysha and her husband, Eric, are bringing neighbors and developers to the table together." 
-Erica Ciccarone, WeHome Podcast, November 2017

"For this exhibition, Briggs brings together selections from two bodies of work that were inspired by coloring books, cartoons, and comics, as well as big questions about the role images and play have on development and identity.  “Inflatables,” features pastel, irregular three-dimensional paintings that combine acrylic, oil, and stuffed fabric and faux fur. “Small Green Plane,” is comprised of concise, fragmented drawings that have been printed on silk, satin, or other fabrics.  Both series occupy the zone between abstraction and actuality, echoing the vague, open-ended narrative of creativity as well as being."
-Melinda Baker, Tennessean, August 2017

"In we are not together yet, Briggs will show works that are a combination of sculpture and painting — think Robert Rauschenberg’s “Bed.” Her pieces incorporate stuffed fabric and inflatable toys with layers of vaguely cartoonish drawings and muted pastel colors that make the whole thing seem childish and more ethereal."
-Laura Hutson Hunter, Nashville Scene, August 2017

"It may be easy to talk about the influences behind Briggs’ pieces, what she likes about them visually, her process of making them. What isn’t easy is talking about why. A viewer starts looking for an explanation—especially a woman like myself who grew up in the ’80s and ’90s and finds the colors and bulbous shapes to be particularly familiar. There’s something incredibly innocent about the perky pink and turquoise, but something worn down about the textures hidden beneath thick paint. I want to chew on these inflatables, see how they taste, put one in my mouth, like a baby—maybe that will give me some answers. (When I tell Briggs this, she laughs lightly and says, “Do it.”) But Briggs’ work is formal, very rarely conceptual, and it dodges comparison."
-Cat Acree, Native Magazine, August 2017

"Most commanding could be the Inflatables, Briggs’s series of oil and acrylic paintings worked on top of meticulous constructions of stuffed fabric and faux fur on panels. Briggs invests heavily in the sculptural process of creating the canvases, treating them as objects first, devoid of any visual intention or plan. “It’s completely separate from thinking about painting.”
-Megan Kelley, Nashville Arts Magazine, August 2017

"I am always looking to present some sort of visual connection to a viewer’s relationship with cartoons or coloring books, whatever that may be. I am interested in these lines and shapes as a shared language that many people might relate back to their youth. I like to present a fragmented version of that narrative, one that has been emptied of specificity."
-Uprise Art Journal Interview, May 2017

"Fellow Nashvillian Amelia Briggs brings the eclectic ensemble full circle with her cartoon-derived prints, reminiscent of Kim’s quirky ceramic characters. Primarily a painter, Briggs utilizes her prints somewhat as preliminary studies for larger projects. In fact, they are overwhelmingly black and white for this show and could pass as graphite sketches from a distance. Based on the phrase “we are not together yet,” they concern the search for identity and complement Wilder’s political sentiment."
-Elaine Slayton Akin, Nashville Arts Magazine, March 2017