I build organic structures
by accumulating repeated elements, each one of which I make by hand. The sculptures are transparent or
translucent forms. They may hang
on the wall or from the ceiling -- or sit on low pedestals. Light is a key element of the work. It may glow from within the forms or
shine on them, casting shadows.
My two bodies of work –
the reed series and the nail series are held together with hundreds of knots. In the reed series, I use reed, waxed
linen, wire, and other materials to weave open spatial structures into gestural
forms. Constructed of many linear
elements, my forms are like drawings freed from the page and expanded into
three dimensions. This work began in
the early Ō90Õs in response to the idea of the basket as container of meaning.
The more recent nail
series is botanical or zoological forms that I construct from acrylic
fingernails and waxed linen.
Sometimes, I insert neon wire into the piece, so that it radiates a soft
light. Seen out of context, the
nails lose their identity as female decoration and become translucent shapes connected
in patterns. The resulting
sculptures are strangely evocative and somewhat humorous.
My artistic concerns are
visual and formal. My sources are
the inherent structures and patterns of the natural world. In a broader context, I feel an
affinity to Post-Minimalist art, particularly in the use of simple or
unconventional materials and processes -- and a formalist aesthetic. My approach is experimental and intuitive
and rarely involves plan drawings.
Although I usually start with an end in mind, I engage in a dialogue
with the materials to discover possibilities. Through this dialogue, the forms evolve.