ARTIST STATEMENT: I make public art, studio art, and art of both kinds by and about fictional characters.
My public art is site-specific, inspired by and designed to illuminate the history, function, or look of its site. Each project is based on some aspect of the shared, public reality of the place.
In some projects, the inspiring fact is not visible, but is part of the history of the place, as in â€œAlmost Home,â€ in the Metro North station in Pleasantville, New York, done in collaboration with Kane Do. The work consists of a bronze replica of the Readersâ€™ Digest which was published in the town for many years, and 22 chairs likely to be found in a suburban town like Pleasantville.
In other projects, the inspiration is easily visible, like the particularly pointy spikes on a long iron fence in Cobble Hill, Brooklyn. These spikes inspired a now annual Halloween series of pumpkins carved into individual faces and impaled on the spikes.
In the studio, I pursue personal, improvisational impulses, occasionally using found objects. During the heyday of â€œRolodexesâ€ as information storage devices, I used 36 Rolodexes to present content ranging from photographs of the Rolodexes of NYC art galleries, to pillows in the distinctive shape of Rolodex cards, to a collection of self-portraits by friends and family. Currently, I am painting on toilet paper rolls and rolling pins, giving viewers a chance to manipulate the image.
My abstract painting is an appreciation of the glory of shape and color in the world. I am obsessed with the range of natural circles and spirals, organic and inorganic. They appear repeatedly in my painting. And I am continually amazed and inspired by the flamboyant colors and patterns of birds and butterflies, beetles and dragonflies, flowers and fish. My goal is not to reproduce natureâ€™s images â€“ nature can do it so much better. I indulge in the play of adding variations to natureâ€™s originals.
In both my public and studio art I have added layers of fiction. For Creative Timeâ€™s first show in the anchorage of the Brooklyn Bridge, I created the character Agatha Muldoon, who allegedly lived in the anchorage, and I made hundreds of drawings she had made of the Bridge towers, as well as â€œre-creatingâ€ her home in the anchorage. In â€œLine of Sight,â€ I made a series of collages all in blue allegedly made by an artist whose son could only see things that were blue. I am now making abstract paintings allegedly made by two other women artists who share with me an attraction to circles.
Lost & Found 2013 mixed media. found objects Work commissioned by MTA Arts for Transit and urban Design for show "On Time" celebrating the centennial of Grand Central Terminal.
Lost & Found (close up) 2013 mixed media. found objects Close up partial view of work commissioned by MTA Arts for Transit and Urban Design for show "On Time" celebrating centennial of Grand Central Terminal
Halloween Impalements: The Toll of Time October 31, 2012 Pumpkins on Iron Fence Temporary, annual installation on an iron fence in Cobble Hill Brooklyn. 100 individually carved pumpkins impaled on the fence and left to become gnarly versions of themselves
The Toll of Time 2012 pumpkins on Iron Fence View of one pumpkin over the course of several months, part of Halloween Impalements, Cobble Hill, Brooklyn
Best on the Beach 2004 Powder coated steel Permanent work at Fire/EMS House in Far Rockaway, Queens, New York, commissioned by the Percent for Art Program of the New York City Department of Cultural Affairs, the NYC Fire Department, and the De
Almost Home 2002 Bronze Made in partnership with Kane Chanh Do.
Permanent work at Metro North train station in Pleasantville, New York, commissioned by the New York Metropolitan Transportation Authority Arts for Transit P
Almost Home 2002 bronze View of different chairs, these in waiting room of train station, with a replica of the Reader's Digest, long published in Pleasantville.
Spirals 2000 terracotta Permanent work at Middle College High School at Medgar Evers College in Brooklyn, New York, commissioned by the NYC Public Art for Public Schools and School Construction Authority through the NYC Depa
Frames of Reference 1989 wood, slate, paint Temporary installation in Cadman Plaza, Brooklyn, New York. Sponsored by the Public Art Fund and the Rotunda Gallery.
This construction is a play on the architectural forms of the wind
Jelly Rolls 2012 acrylic and gouache on rolling pins 11 painted rolling pins. This gives the viewer the ability to roll the pins to any point on their surface, and to change the order of the pins on the support, so the viewer helps make the image.
Moving Image Blue 2009 acrylic and gouache on MDF Two panels with 7 squares each. Each square can be rehung in any order and any direction, allowing the viewer to create the overall image.
Tlonic Text 1 2012 gouache on paper Abstract images joined into faux words.