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 that inhabit a non-verbal place, that resonate with such primal human emotions.
I understand my studio practice as a paced and daily conversation with place. Her creative process arises from the relationship between time spent walking and time spent drawing. At the pace of my step, thousands of lines are pulled across a pliant mat board and cast between walls while walking. I find context for my work within a tradition of other “walking artists” including William Wordsworth, Helen Mirra, Rebecca Solnit, and Virginia Woolf. For me, walking is integral to making, as well as aspace for social awareness, self-reflection, and change. My drawings generate fundamental questions about time, causality, and sequence, and language is often utilized as a compass to generate expanded meaning. The work suggests that alchemy can exist in everyday life.
From my studio in the Hudson River Valley, elements of light, space, and time coalesce. My drawings and installations generate fundamental questions about time, causality, and sequence. The work offers a visual and bodily experience that conjoins personal and abstract voices in a way that suggests that alchemy can exist in everyday life.
I’ve come to understand my work as a kind of self-portraiture. Within its reserve and formal abstraction is a strong impulse to speak from a deep place about what is private, vulnerable, fragile, and perceptive in the human condition. My work is a mirror of how I experience the world. It speaks to how I negotiate physicality, optics, and ideas. Through drawing languages, my voice withholds, blurs, teases, veils, and ultimately discloses.