Rooted in the language of decay, erosion and disease, my work merges intricate microcosms with immense topographies. Using systems of patterning, layering and translucency, I create a world of imposing forms. I approach these shapes by working both sculpturally and in a two dimensional format. My interest lies in the interaction of these abstracted shapes with each other as well as the architecture of the space in which they exist. In all of my work there is an awareness of location, whether a centimeter wide area on the body or an aerial view of earth, that facilitates the exploration of place and its emotive aspects. The awareness of place and the emotions and memories invoked there continues to be a primary interest. Ultimately, these visual topographies become my mechanism for uncovering the basic elements of identity in a world characterized by façade.
Sculpture made from Silk:
Silk is the perfect medium in that it performs similar to a layer of epidermis. It is translucent, yet deceptively strong, maintaining the shape of organ-like forms and cellular structures. Each bulbous shape is hand formed, emulating cell systems gone awry. Because the original objects are removed, a sculptured contour drawing takes shape in three dimensional space. The result is a bodily landscape generated from the microscopic. These works are not dyed. Rather, they go through a lengthy process in which pigment, ink, acrylic, bleach and compost are applied until the intended painterly effect is achieved. Drawing from the Japanese technique, Shibori, these pieces are pulled and distorted to capacity. It is the dichotomy between the beautiful and horrific that I seek to capture in these sculptural works.
These works address the logistics of place and examine the moment when opposing forms converge. The continual modification of the American landscape embodies the aesthetics of Land Art. Drawing from precise points on the earth, these paintings speak to the physical and emotional characteristics of a place in transformation. In these works, I explore how forms abstracted from nature interact with shapes configured by man. These interactions occur all the time: in the mold growing on subway tiles or subdivisions carved out of existing woodlands and farms. To make these works, puddles of raw pigments are integrated with enamel and acrylic paint, merging an unruly painting process with a controlled one. Through this process a continually shifting relationship between dominance and coexistence permeates the canvas.