MEET THE ARTISTS
Three women working in three dimensions, come together to share what they’ve discovered over the course of the last few years via experimentation and research in their respective practices.
The common thread?
Creating tension between the familiar and unexpected by combining fragile and industrial strength materials to comment on the natural and social worlds we live in.
My installations are three dimensional drawings, using linear materials such as fencing and wire to define space and form. The ephemeral quality of each construction reminds the viewer of the temporary nature of their own life and condition. In the past five years of my 35+ art career I have become engrossed in creating installations and environments. These pieces can be technologically mediated contemplative experiences, highlighting the role of the body, cycles of decay and revitalization, and virtual physical material transcendence and transformation. Given the current social-political climate, it has become increasingly important to create work that bridges the gaps across different perspectives and facilitate relational dialogue. The shadows that result from this dimensionality are what drive my energy. Color and texture can carry that energy and accentuate the focal point of each piece. I create work that investigates personal connections through enigmatic, abstract forms. My process begins with a visual diary that draws from emotional states, emphasizing capsules of time that crystalize feelings and words with color and form.
My goal as a visual artist is to create iconographies that can communicate ideas to a range of audiences. The imagery usually incorporates the human figure, most often the female figure. The ideas revolve primarily around social issues and are presented through narrative or metaphor. The materials range from handmade paper—used for its ability to mimic a variety of materials as well as its inherent connotation of fragility—to a special form of Fiberglas-reinforced plaster, originally developed for architectural casting. I’ve tended to work in that somewhat peculiar niche between painting and sculpture called “relief.” In the late 1990s I began to treat the wall as an integral part of the meaning, that is, something more than merely a backdrop. My most recent installations further explore the link between the human body and architecture.
I create imaginary landscapes and growths to investigate the effects of entropy on our environments. I transform the commonplace materials of porcelain, paper, and wire into unfamiliar forms and textures that evoke growth, decay, and the tenuousness of our surroundings. My work asserts the craft-based primacy of the handmade, grounding itself in the physical world on which we all, ultimately, rely. Combined with this materiality, the scale and visual delicacy of my work request viewers’ spatial consideration when interacting with it. The size and placement of the objects compared to the body describe the nature of their relationship. Some works loom down from above as if sitting in judgement or, alternately, being elevated above the destructive reach of human hands. Others strive to coexist, overcoming the internal tension between the vivacity embodied by their forms and the decay implied by their materials. By openly displaying their own physical vulnerabilities, these objects underscore the precarity of our surrounding ecosystems. In doing so, my work aims to cultivate compassion for the physical world around us and for our own impermanent selves.