I make organic, encaustic-covered sculptural forms. Some are single objects. Others are grouped. Still others have individual components with connecting parts.
I intend my work to be disturbing, funny, and sometimes sexy. It’s about human foibles (inaccessible fantasies, environmental damage) and disasters (mutations, suffering, nature’s destruction). The work—founded formally, conceptually, and technically in history, history, history—rests on two quotations from Barbara Kingsolver’s Poisonwood Bible:
“My life: What I stole from history and how I live with it.”
“Misunderstanding…is the cornerstone…of civilization.”
Indebted to others’ perceptions, feelings, thoughts and beliefs, I draw from artwork of the past. The work assembles many different ways to prompt viewers, including myself, to reinterpret the work.
In an effort to communicate something essential, I use the arsenal of visual literacy: titles, form, dimensionality, expression, materials, color, position, relationship of parts to wholes, marking or lack thereof, different scales, different contexts and references to things we see every day, living or not.