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 am mapping a highly fragmented, abstracted and always in flux territory. Grids, or nets and “suspended skeletons” unfold and recede along a vast imaginary distance.
The motifs I use depict spaces without geographic reference-chronicles of imaginary lands inspired by topography, cartography, and 3-d mapping. 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 maps that tap into emotional spaces not just the physical, a way to sort thru the geologic 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 things pass. detail. rebar ties.
letting small things pass. aprox. 20'x8'x12'.
wireframe. 35"x22"x20. rebar ties.
wire frame. detail
grid. 32"x24". rebar ties.
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 1-2. steel round bar.
inside passage. steel round bar.
first light. lasers.
latitude. 20"x20". chalk snap line.
meridian. 10'x2".snap chalk line.
coordinates. 1/4 steel rod.
CUT, BURN, DRILL, GRIND, SAND, SHEAR, ABRADE.
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).
I actually did not make any work specifically for this show. The installation is a secondary result of making.
My primary concern is with the process itself and the power of the material and its inherent capacity. Equally, emphasis is on moving away from conceiving the artwork as a finished product.
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.
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, foam, ferrous and non ferrous metals. There is an inherent tension in the pieces. Metal has memory and when bent tries to return to its original position.
I am interested in time, process and material. Emphasizing the process and its making so that the residue is the form.
Personal collection of 5 spring steel coils from spent retractable tape measures
Belts from my stationary belt sander
collected and arranged steel and aluminum shavings from the drilling process
filings. installation view. 4' x 20'.
tempered steel horizontal band saw blades
grit 120, 160, 180
sanding belts from an industrial wood sander
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 and 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.
I tend to engage in highly process driven and tactile endeavors exploring the latent potential of materials. 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 human impact makes its greatest impact.
benchmark. 145". cold rolled steel rod.
shoreline. 14' x 18". Drywall tape
King tide. 5' x 3' x 18". Torn and torched down asphalt tiles
low waters. 4' x 4'x 18". Salvaged bike inner tubes, steel shelf
water sample. installation view
water molecule structure. 6"x4"x3". Cold rolled steel
Topo White. 11" x 7". cast concrete.
water molecule structure. 9"x11x7". bamboo skewers and wax.
Topo Black. 10"x 5"x4". Torched and torn asphalt shingles.
shell. 12"x7". drywall tape
little planets. 4" dia. Steel and cast concrete.
equal and opposite 2012
All forces exist in pairs and their interaction is equal and opposite. Action/reaction are simultaneous. There are no isolated forces. One cannot exist without the other.
I tend to engage in highly process driven and tactile endeavors exploring the latent potential of materials. The palette is the materials itself. Subtle changes in height, mass and texture inform the work. The patina of use is clearly visible: slightly rounded edges, dirty hand prints.
installation view. Micro on walls.
what is pulling me down is keeping me up. 4' x 4'. Tarpaper and fabricated steel 2012. 4'x4'. steel, tar paper
what is pulling me down is keeping me up. detail.
trajectory. 11"x 32". Salvaged appliance strap and drywall tape.
untitled. 14" x 30". Drywall tape
orbit. 2012. 4'x4'. drywall paper, steel
Orbit. micro on wall. macro on steel base.
fall back, return. 2012. 12"x12", 7"x7". cast concrete, steel
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.
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. 14"x 3'. 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.
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 in the background. It was more than just a day in the 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. This distilled approach allows the viewer to engage with the materiality and language of its simplified form.
It was more than just a day. detail
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
(de) construct. installation view.
entry. 22"x 38". salvaged wood.
enclose. 18" diameter. steel straps and rivets.
access. 39"x 18". salvaged steel I Beams.
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.