Orange Jelly, 2009

sweaters, zip ties, poly-fil

In this large installation, I have much like fungi themselves, recycled an unexpected material into a new form. I reused orange sweaters from thrift stores to create this large scale fungal invasion. These fungi symbolically represent a network of transformative decay below the surface of the gallery walls. This is part of a series of fungi inspired work in which I am exploring liminal states, transformation and impermanence.

Urnula, 2008

glazed stoneware

Purple Peel, 2008

glazed stoneware

Bracket, 2008

glazed stoneware

The material choice of ceramics creates a tension between the mysterious and temporary quality of fungi and the permanence of the sculptures. These fungi symbolically represent a network of transformative decay below the surface of the gallery walls. This is part of a series of fungi inspired work in which I am exploring liminal states, transformation and impermanence.

These pieces can be installed in different ways for each different space. Contact me for prices and sales.

White Moment, 2008

Northeastern Illinois University

exhibit over view

Sentient 2008: plaster gauze, paint, mirror

Breathe 2008: plaster, wall, paint, mirrors

Self Portrait with Mirror 2008: plaster, mirror

Leftovers, 2008

minidutch gallery

In this show I've made work from the materials that have been in my studio, in some cases for over 10 years. I've been carting these leftover and never used materials around think that someday I would make art with them. The materials vary from found objects, felt, latex, fake eyes, orange powders....

I returned to the source of art making practice for this exhibit. The curious, adventurous, anything goes making from my youth created these many delightful, often curious objects. This making process was fun and immediate, creating new pieces rapidly and severing what had become an emotional tie to the promises of all these materials.

To further sever the tie, the work is for sale, and very affordable prices range from $1 to $50. Some work is available for cash and carry.

Leftovers was reviewed on ArtSlant, click here to read it.

White Balloon, 2007

set for Butoh performance by Wannapa P-Eubanks at Links Hall, Chicago

red dresses, closet rod, safety pins, chain

Sentient, 2007

NAB Gallery, Chicago

plaster and cloth

This project began when I visited The Museum of Fine Arts in Boston in 2005 where I was very moved an exhibit of Buddha heads and one headless Buddha body. All of the heads were from different countries and regions, and although all were recognizable as the Buddha, each was different. The headless body reminded the viewer that the Buddha heads were in fact disembodied, and not created that way. This vandalism has resulted in a new aesthetic of the Buddha head as mnemonic for the whole.

The experience of this project, although visually very much like my inspiration, has brought me very far my original experience. As each volunteer came to my to my studio to be cast for the project the piece and I began to acquire an important aspect of community. Although I am sure that every volunteer had a different reason for participating, they became a unified community in this exhibit without ever meeting each other.

Additionally, this exhibit illustrates the challenge of meditation, which is to unify the mind and body in the present. The incomplete figure of head and body is the human experience, and it is the brief moments of unity that enlighten the present. As I covered each volunteer with wet plaster gauze slowly into isolation, each of them was having an unexpected experience of meditation ranging from calm pleasure and relaxation to mediations to cope with claustrophobia and boredom.

This installation mimics the aesthetic of the museum. The heads mounted on the walls become artifacts, and the figure seated on the floor grounds the space. The experience is contemplative, quiet, and curious. The white objects in the white space force their form, and reject decoration in favor of minimalism. The hollow of the plaster and gauze construction reveals both the making process and the exhibits the quality of emptiness inherent to all things. The use of iconography in this installation asks who is the Buddha?

For Puja Purpose, 2007

spices, puja powder

Puja is a Hindu word for religious ceremony or act. I used this word to describe this mandala created by silhouettes of US war planes and the passenger planes used in 9-11, which are poised in opposite directions to and from the direction of Mecca. I also use this idea of religious act to describe the war and the actions of each side. Both sides of this war are blind with their devotion and beyond rational. The use of spices to create this mandala makes use of an ancient source of trade between the east and the west that continues today.

Biological Cartography, 2007

International Museum of Surgical Science

Cultivate and Culture, 2007

Cultivate, 2007

petri dishes, latex tubing, latex

Culture (detail), 2007

latex tubing, latex

Biological Cartography, 2007

petri dishes, wire, LED lights, latex, polyurethane glue, xerox transferes

Untitled (Chicago Pills), 2007

gellatin capsuls, Rand McNally map, petri dishes

Scoliosis, 2007

bees wax, microcrystalline wax, canvas

Dermalogical Topography #1, #2, #3 2007

Orange Jelly, 2009		back to top
sweaters, zip ties, poly-fil
	In this large installation, I have much like fungi themselves, recycled an unexpected material into a new form. I reused orange sweaters from thrift stores to create this large scale fungal invasion. These fungi symbolically represent a network of transformative decay below the surface of the gallery walls. This is part of a series of fungi inspired work in which I am exploring liminal states, transformation and impermanence.
Urnula, 2008		back to top
glazed stoneware
Purple Peel, 2008		back to top
glazed stoneware
Bracket, 2008		back to top
glazed stoneware
	The material choice of ceramics creates a tension between the mysterious and temporary quality of fungi and the permanence of the sculptures. These fungi symbolically represent a network of transformative decay below the surface of the gallery walls. This is part of a series of fungi inspired work in which I am exploring liminal states, transformation and impermanence. These pieces can be installed in different ways for each different space. Contact me for prices and sales.
White Moment, 2008 Northeastern Illinois University		back to top
exhibit over view
Sentient 2008: plaster gauze, paint, mirror
Breathe 2008: plaster, wall, paint, mirrors
Self Portrait with Mirror 2008: plaster, mirror
Leftovers, 2008 minidutch gallery		back to top

	In this show I've made work from the materials that have been in my studio, in some cases for over 10 years. I've been carting these leftover and never used materials around think that someday I would make art with them. The materials vary from found objects, felt, latex, fake eyes, orange powders.... I returned to the source of art making practice for this exhibit. The curious, adventurous, anything goes making from my youth created these many delightful, often curious objects. This making process was fun and immediate, creating new pieces rapidly and severing what had become an emotional tie to the promises of all these materials. To further sever the tie, the work is for sale, and very affordable prices range from $1 to $50. Some work is available for cash and carry. Leftovers was reviewed on ArtSlant, click here to read it.
White Balloon, 2007 set for Butoh performance by Wannapa P-Eubanks at Links Hall, Chicago		back to top
red dresses, closet rod, safety pins, chain
Sentient, 2007 NAB Gallery, Chicago		back to top
plaster and cloth

	This project began when I visited The Museum of Fine Arts in Boston in 2005 where I was very moved an exhibit of Buddha heads and one headless Buddha body. All of the heads were from different countries and regions, and although all were recognizable as the Buddha, each was different. The headless body reminded the viewer that the Buddha heads were in fact disembodied, and not created that way. This vandalism has resulted in a new aesthetic of the Buddha head as mnemonic for the whole. The experience of this project, although visually very much like my inspiration, has brought me very far my original experience. As each volunteer came to my to my studio to be cast for the project the piece and I began to acquire an important aspect of community. Although I am sure that every volunteer had a different reason for participating, they became a unified community in this exhibit without ever meeting each other. Additionally, this exhibit illustrates the challenge of meditation, which is to unify the mind and body in the present. The incomplete figure of head and body is the human experience, and it is the brief moments of unity that enlighten the present. As I covered each volunteer with wet plaster gauze slowly into isolation, each of them was having an unexpected experience of meditation ranging from calm pleasure and relaxation to mediations to cope with claustrophobia and boredom. This installation mimics the aesthetic of the museum. The heads mounted on the walls become artifacts, and the figure seated on the floor grounds the space. The experience is contemplative, quiet, and curious. The white objects in the white space force their form, and reject decoration in favor of minimalism. The hollow of the plaster and gauze construction reveals both the making process and the exhibits the quality of emptiness inherent to all things. The use of iconography in this installation asks who is the Buddha?
For Puja Purpose, 2007		back to top
spices, puja powder
	Puja is a Hindu word for religious ceremony or act. I used this word to describe this mandala created by silhouettes of US war planes and the passenger planes used in 9-11, which are poised in opposite directions to and from the direction of Mecca. I also use this idea of religious act to describe the war and the actions of each side. Both sides of this war are blind with their devotion and beyond rational. The use of spices to create this mandala makes use of an ancient source of trade between the east and the west that continues today.
Biological Cartography, 2007 International Museum of Surgical Science		back to top
Cultivate and Culture, 2007
Cultivate, 2007 petri dishes, latex tubing, latex Culture (detail), 2007 latex tubing, latex
Biological Cartography, 2007 petri dishes, wire, LED lights, latex, polyurethane glue, xerox transferes
Untitled (Chicago Pills), 2007 gellatin capsuls, Rand McNally map, petri dishes
Scoliosis, 2007 bees wax, microcrystalline wax, canvas Dermalogical Topography #1, #2, #3 2007