Neurologists have determined that the old brain holds the seat of our most primal understandings of the world. Goodwill, security, fear, anxiety, self-protection, gravity, sexuality, and compulsive behaviors generate from this lower cerebral core. I make sculpture and drawings inhabit a non-verbal place resonant with such primal human conditions.
With a long tradition ranging from Henri Rousseau to William Wordsworth, Robert Walser and Immanuel Kant, I am interested in the relationship between deep thinking and composing with time spent walking. My newest work expounds on the seamless relationship between the pace of my step and the evolution of the work in two and three dimensions. Thousands of lines are pulled across a pliant mat board and cast between walls while walking. My work carries with it a quiet reserve, emotional power and formal abstraction, and has always held a gradient light, with a slow and telling use of tone to find meaning.
I understand her studio practice as a paced and daily conversation with place, in body and mind. From my studio in the Hudson River Valley, elements of light, space, and time coalesce from this mindset. As these drawings generate fundamental questions about time, causality and sequence, I seek to speak in an essential way to the human condition. My drawings and installations present a visual and bodily experience that conjoins personal and abstract voices with a sense that alchemy can exist in everyday life.
I’ve come to understand my work as a kind of self-portraiture. Within the quiet reserve and formal abstraction is a strong impulse to speak from a deep place within myself about that is private, vulnerable, fragile, and perceptive to the human condition. My work is a mirror of how I experience the world, and as I negotiate physicality, optics and ideas through drawing languages, my voice withholds, blurs, teases and veils.