Exploring various states of impermanence, weightlessness and transparency through my use of materials; inks and pigmented wax on cut paper and painted dura-lar, I create a visual equivalency to philosophies and spiritual practices both secular and formal that simultaneously speak to our collective and my personal sense of what makes us most human.
Of Robert Irwin, Calvin Tompkins has said “His work is not about light, or a record of light; it is light — the physical presence of light made manifest in sensory form"
For me it could be said, my work is not about impermanence, weightless and transparency- it is the physical presence of impermanence, weightlessness and transparency made manifest in sensory form.
The work embodies a transitory sense of presence in an ever changing, expansive atmosphere as relationships of all sorts; personal, interpersonal and global are considered.
I’m using a variety of materials in the making of both 2-D and 3-D pieces which introduce new realities between solid form and fluid circumstance. In their 3-d iteration I am utilizing polyfoam as a substrate which is dyed and manipulated into sculptural objects. The 2-d iterations employ wax, pigments and inks on Masa paper, Duralar or Yupo paper. I then cut out shapes that resonate with me, allowing the gesture and mark become an important conceptual component in the work.
Some of these works hang on the wall while others are hanging freely from clips and filament wire tethered to the ceiling. They can appear as thin slices of atmosphere to walk around and peer through. Their elusive appearance with cut out areas, are especially stark in contrast to their bulky 3-D counterparts.
While the work itself contains the tangible qualities of materiality, the concepts embodied bring into question all we perceive as reliable, including our thoughts.
Although these considerations have been a part of my inner dialogue for much of my life; I became increasingly entranced with these forms, materials and processes as conditions, after the recent election, set the spiral of heightened questioning into motion. I’m engaging here with the broad picture of what it looks like to navigate an inner unknowing and our perceptual shifts in tenuous, shifting, precarious times.
Remnants and Other Elevated Parts
In the Remnants and Other Elevated Parts series, I’m using a variety of materials and processes, freely transitioning between 2-D and 3-D. The unlikely combination; vintage and antique textiles alongside more contemporary materials; fabrics from second hand shops, kitschy oil cloth, glossy vinyl and polyfoam feels paradoxical in nature, like a historical timeline happening all at once. I like weaving together layers of the handmade with equal attention to the mass produced.
The textiles, being from all over the world including India, France, Japan and the United States have a way of intertwining in relation to form and aesthetics which roots the work in this conceptual conversation.
The 3-d works; stuffed, sewn, painted on and collapsed onto one another can feel like a pile of laundry or paintings unhinged from their stretchers becoming monuments to their former selves or, conversely; exquisite historical treasures.
I like the idea of adding my hand to history, altering materials while touching on history, migration, transition and the significant recontextualizing of culture through our evolution of change both personal and universal.
In the New Artifacts Series, I’m using a variety of materials and processes, freely transitioning between 2-D and 3-D. The unlikely combination; vintage and antique textiles alongside more contemporary materials; fabrics from second hand shops, kitschy oil cloth, polyfoam and glossy vinyl, feels paradoxical in nature, like a historical timeline happening all at once. I like weaving together layers of the handmade with equal attention to the mass produced.
The 3-d works; stuffed, sewn, painted on and collapsed onto one another can feel like a pile of laundry or paintings unhinged from their stretchers becoming monuments to their former selves.
I have always worked, in one iteration or another, on concepts that touch on history, transitions, consequences and perceptions, both personal and universal. The textiles, being from all over the world including India, France, Japan and the United States have a way of intertwining in relation to form and aesthetics which roots the work in this conceptual conversation.
I like the idea of adding my hand to history, altering these materials to become new artifacts.
Suspended Beliefs expounds upon the symbolic attributes of a stereotypical sense of heavenly-ness. These "facades" enlist notions of promise and legacy by over glorifying and embellishing objects to become treasured artifacts. The occasional rough treatment of surfaces and materials is just enough to hint at the deeper hidden struggles just below the surface.
Here, you'll find references to the pristine, angelic and revered juxtaposed by the presence of broken, decaying vessels; the perfectly imperfect; a paradox which can raise questions about how we deal with the complex issues of fairness on a personal level and in a broader context, globally and spiritually.
Many of the materials I'm using might be considered quite commonplace and ordinary, mulberry bark, graphite, antique architectural pieces and collaged details from masterworks of the 17th century along with wire, acrylic, Tyvek, vinyl, and yupo paper. I like using such banal materials to address lofty concerns.
"Suspended Beliefs" is a look at our ever unfolding truths, the way in which we question what we "know" and the unraveling transformation of long held beliefs.
Plight Of The Pleasure Pods
We are these wonderful beings; Pleasure Pods. We seek pleasure, success, acceptance, love and beauty. We struggle through a myriad of challenges which shape our psyche and manifest into perceptions we have of ourselves, others and our place in the world.
These seductive, tactile works both invite us in with materials one feels compelled to touch yet somehow maintain a sense of privacy and sometimes a need to slightly recoil as the investigation becomes perhaps a bit too intimate at times. And therein lies the fun. The Plight of The Pleasure Pods series investigates and reflects with humor and depth.
Identity, self-worth, pride, societal norms, memories, desire, connection, fear, ageing and loss find their way into paradoxical relationships in the expression of ego by way of evocative materials such as plaster, foam, rawhide, tree roots, limbs, faux fur, sheep fur, photography, mulberry bark, bed springs, rubber, vinyl, acrylic and more. Sometimes squishy and childlike, other times rugged, historical and worn, these materials create a balancing act of seriousness and play, structure and tension, safety and fear.
”The Diva And Her Deflated Ego” incorporates a large deteriorating pod sagging over a once important pedestal while adorning a rusty tiara. The Diva is supported by a failing limb, her shadow reflects back to her with imagery of Narcissus by Caravaggio and Hieronymus Bosch’s Heaven and Hell yet she maintains a glimmer of youth and sensuality with voluptuous form and a glimpse of her pink fur. Other works in the series intrigue with titles such as “Mating Season”, “Keeper of the Flame” and “Love Muffin’s Unofficial Monument” to name a few.
This body of work chronicles our urges, perceptions, vulnerabilities and strengths exploring the impact of desire’s pursuits.