All of these materials are a reflection of my day to day consumption….riding my bike to work on the weekdays and in the woods on the weekends….The contents of my shopping cart.…I use discarded materials to reflect on ideas of the increasing materialism and obsolescence in our society and the inextricable relationship between production and consumption and the isolation that ensues. Also an undercurrent is the empty bed or the stray matress on the side of the road, its once owner forced to leave, not in control of their next move.
can’t sleep can’t wake. 32”x 50”. Border rod deconstructed from found boxspring.
Receipt quilt. 48”x40”. Saved, scissored and sewn receipts collected over the course of the year by artist.
In between sleeping and nodding off. 76”x 80” (King mattress). Fabric cover from found and dismantled boxspring. Rusted print/ transfer on synthetic padding from sitting in the rain.
out of breath. 18”x 30”. Found semi truck inner tube by RR tracks
resuscitate. Punctured, re-patched and re-filled bike inner tubes from the artists 3 bikes over the course of 5 years.
nowhere nothing no one 2016
I come from a family of fisherman. The net speaks to abundance. The net teaches us about loss and letting go. It allows desirable fish to be captured and those that are not to pass thru.
My first impulse was to develop a language of forms that could communicate the feeling of a different dimension of space-time, thinking the world as a constellation of related forms, places, ideas and people
I seek to create interior volumes that are delineated by web-like interconnected lines. The lines express a fluidity as well as an awkward geometry,
I seek to draw on the language of mapping that tap into emotional spaces not just the physical, a way to sort thru the tangle of memories
Much of my work is realized upon installation, this is an important time for me although much of it is conceptualized earlier
letting small thing pass. detail. Found rebar ties.
letting small thing pass. Aprox. 20’ x 8’x 12’. Found rebar ties.
circuit. 35”x 22”x20”. Leftover Rebar ties.
grid. 32” x 24”. A swatch or a portion removed from the main piece letting small things pass.
constellations. Rebar ties.
waypoints is an installation referencing how we navigate thru our physical space. Working in 3-d and directly on the wall i use the vernacular of common building materials to map coordinates or routes adapted from GPS data collected when working on my brothers gill net boat in SE Alaska.
Inside Passage. Route 1-3. Steel round bar.
Inside Passage: Route 1 (left) and 2 (right)installation shot.
Inside Passage. Route 2. Steel round bar.
Inside Passage. Route 4. Steel round bar.
First Light. Black and Decker laser level from Home Depot.
Latitude. 20” x 20”. Contractor Chalk Snap line. Blue and black chalk snapped directly on wall. Chalk residue on floor.
Meridian. 14’ x 2”. Contractor Chalk Snap Line. Red and black chalk snapped directly on wall. Residual chalk on floor.
Coordinates. 12”x 5”. 1/4 steel rod
Coordinate. 10”x8”. 1/4 steel rod.
Inside Passage. Route 3. 42”x 28” x48”. Steel round bar.
CUT, BURN, DRILL, GRIND, SAND, SHEAR, ABRADE.
I actually did not make any work specifically for this show. The installation is a secondary result of making. The net result of cutting is two products….. the waste or excess material and the desired product. The waste is the result of the subtractive (material removing) and this is what i am revealing.
I am a metal worker and these are the tools of the trade. All of these pieces are the result of work, the byproduct of effort. They document my time, the material and process i employ, leaving its traces. They are in various states of exhaustion and reveal its consumer: traces of wood pitch, tarpaper, plastic, ferrous and non ferrous metals.
I do not work in an overly scripted way; rather the focus is on the experience of living thru the work. The content resides in its intentions rather than as a static and enduring object.
I am interested in time, process and material. Emphasizing the process and its making so that the residue is the form.
Measuring Distance. 5 spring steel coils from spent retractable tape measures. Personal Collection. Saved over a 5 year period.
Abrasives. 18”x 32”. 120 grit sanding belts. Spent belts from my stationary belt sander. Saved and collected over a 5 year period.
Filings. 4”x 20’. Steel and aluminum filings leftover from the drilling process. Installation view.
Missing Teeth. 10’x 13”. Tempered steel band saw blades from my horizontal band saw. Collected and saved since moving into SODO shop (5 years)
Missing Teeth. Detail.
GRIT 120, 160, 180. Each 48” 32”. Sanding belts from an industrial wood sander.
Slugs. 2 @ 48”x8”. Steel shelves. Collected and arranged steel blanks leftover from the drilling process.
Slugs. Installation view.
Rise and Fall 2013
Tides are one of the most reliable phenomena in the world. The tide comes and goes two times a day is one of the few predictable events in an otherwise chaotic world.
Tides are waves that move thru the ocean in response to gravitational forces exerted by the sun and the moon and the rotation of the earth. Tides originate in the ocean and progress toward the coastlines where they appear as the regular rise and fall of the sea surface.
Rise and Fall is an acknowledgement of the day to day, the underlying rhythm of its ups and downs, its dry spells and floods. Furthermore, i wanted to reference the history of this area, once tidal flats.
Much of the materials seen here are found on construction sites. The palette is the material itself. Subtle changes in height, mass and texture inform the work.
These pieces are an exploration of the idea of edge, line and boundary. The installation represents the lowest level of the tide, the exposed shore. This is the area between the high and low tides, where an abundance of marine life thrive. These inhabitants are adapted to an environment of harsh extremes of both land and sea, subject to submergence, desiccation or carried away by rough waters. Unfortunately it is also a place where humans makes their greatest impact.
Benchmark. 145”. Cold rolled steel. Tidal chart for the month of June (duration of installation).
Shoreline. 14’x 18”. Salvaged drywall tape.
KING Tide. 5’x 3’x 18”. Torn and torched asphalt tiles.
low waters. 4’x 4’x 8”. Salvaged bike inner tubes from artist. Steel shelf.
Topo White. 11”x 7”. Cast concrete. Form found from roofing debris.
water molecule. 9”x 11”x 7”. Bamboo skewers and wax tape.
Topo Black. 10”x 5”x 4”. Torched and torn asphalt shingles.
Conch. 16”x 11”. Salvaged drywall tape.
little planets. Each 4” diameter. Steel and cast concrete.
equal and opposite 2012
All forces exist in pairs and their interaction is equal and opposite. There are no isolated forces. One cannot exist without the other: White/black Solid/void Light/shadow Round/square Birth/death Most of my inspiration comes from salvaging building materials from construction sites. The palette is the materials itself. Subtle changes in height, mass and texture inform the work. The patina of use is clearly visible: smudgy fingerprints, slightly rounded edges, and small creases from coiling and uncoiling.
installation view. Micro on walls.
what is pulling me down is keeping me up. 4’x 4’. Salvaged tarpaper and fabricated steel.
what is pulling me down is keeping me up. Detail.
trajectory. 14”x 36”. Found appliance strap, found drywall tape.
fall back, return. Pedestal piece: 12”x 12”. Wall piece: 7”x7”. Cast concrete and fabricated steel. Both were cast from found roofing supplies.
fall back, return. Detail.
killing time 2011
Armed with a calculator and a welder: These sculptures reflect on the passage of time and capture its irreversible continuum. I am attempting to record the systems of reckoning time, the cycles, sequence of days, months and years.
Killing Time. Installation view.
Killing Time. Detail.
Countdown. 6 ’4” Diameter. Steel, found adding machine paper, ink. Countdown is a mandala "a container of essence", a microcosm of the universe from the human perspective. It is the result of the ritual of entering each day, month and year from the date of my birth up to the present in an old calculator. It became a meditative act, a ritual reflecting the rights of passage and a symbol representing the efforts to reunify the self. The print out is then twisted like a rope and concentrically displayed with the dates getting bigger as the circle closes, much like life itself.
your time will come. Cast concrete, steel, found rope. Inspired by my husbands niece who lives with us. She is exactly half my age, newly 21. Each sphere represents our opposing experiences of time. This sculpture is reminiscent of buoys, navigational tools or markers that alerts us to hazards, anchored or allowed to drift.
your time will come. Detail.
Interval. 12”x 32”. Fabricated steel, found adding machine tape, ink. Interval is a moment in time selected and removed from the whole, the time continuum (Countdown) and placed on a pedestal reminiscent of gears. This piece is about how we isolate moments, particular events in our lives. It is about memory and how a single event, good or bad can shape us, make us who we are, make us tick.
Interval (background). It was more than just a day (foreground)
It was more than just a day. 14’ x 12”. Cast concrete, steel. A progression of solids and voids, the waxing and waning of the moon. Each shelf represents a week, totaling a month, the lunar cycle of the duration of the show. This distilled approach allows the viewer to engage with the materiality and language of its simplified form.
Interiors: A modern design aesthetic inspired by geometric shapes. Metal work is minimal and focuses on the subtleties of each form-drawing compliment from dissimilar materials. Industrial dimensional metal, round pipe, square tubing. Aluminum and steel exterior, copper and brass interiors. Steel cable chokers with magnetic clasps.
Bangles: forged steel schedule 40 heating pipe.
pendants; forged steel washers.
Building like everything have a life cycle. When buidings reach the end of their useful life they are typically demolished and its contents hauled of to a landfill. Deconstruction focuses on giving new life to these materials.
All of the materials in these sculpture have been recovered from a building that is itself being repurposed. The wood once a fence to keep people out, a railing to keep people in. I have created sculpture that is stripped down to a restrictive vocabulary of geometric shapes, closely resembling contemporary architecture.
Theses sculptures are determined by basic geometric shapes as outline. I use one single component for design unity and emphasize on what is absent: the space around the object.
Strand. Dimensions variable. Fabricated steel.
Entry. 25”x 38”x 45”. Salvaged wood from deteriorated fence.
enclose. 18’ diameter. Steel straps and rivets.
access. 45”x 20”. Salvaged steel i-beam.
Channel. 14”x 32”. Salvaged steel channel.
bite, tear, chew, gnaw 2009
Manifestation of a recurring dream of teeth falling out. Cast concrete, forged steel teeth are caged, representing our instincts, our animal defenses and thus lack of power. Teeth, apart from DNA are the next important source for identifying a body after we die.