sculpture

 

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"syzygy" 2014

Installation at Mercury 20 Gallery,

(thumbnail links to the rest of installation)

 

 

 

 

 

"Flight Patterns on Lake Merritt" 2015

A collaboration with Robert Strati and Valerie Garry. Inspired by Lake Merritt's cultural, historic and natural importance, the installation is an abstract examination of nature as it exists within an urban system and how each influences the other. The work uses references such as outlines and topographical mappings intertwined with patterns suggesting organic forms, currents and light.

(thumbnail links to the rest of installation)

 

 

 

 

 

"Flight Patterns" 2015

Flight patterns of various birds and ducks on Lake Merritt in Oakland, California.

(thumbnail links to the rest of installation)

 

 

 

 

"In the Grid" 2013

Installation at Mercury 20 Gallery, showing "Rerouting to the West"

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"Red in the Interlude" 2012

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"Fireflies" 2012

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"Figure Studies #2"

5" x  5"  x 1"
hair on paper on wood

"Figure Studies #1"

5" x  5"  x 1"
hair on canvas

"Abstract Studies #1"

5" x  5"  x 1"
hair on paper on wood

"Bones of Eire" Installation at San Francisco Museum of Modern Art Artists Gallery, 2003

(thumbnail links to the rest of installation)

12" x  12"  x 8"
potatoes and wood

Beir Mo Bheannache Chucu (Remember Me to Them)

commemorates the people who migrated from the Iveragh Peninsula in County Kerry, S. W. Ireland. From 1845 to 1960, over 2,000 people left the area and immigrated to Canada, U.S.A., Australia, and England.

In 1995, I was invited to an artist-in-residence program in Cill Rialaig, which is a deserted pre-Famine hamlet amidst beautiful countryside of the Iveragh Peninsula on the edge of the Atlantic coast. While there, I began a community project involving over 100 people, including men, women and children. Each person made a fabric or paper boat and wrote the names of family members that migrated during the famine that they wanted to remember. I went to the two schools and worked with the teachers and students to create their boats. Upon returning home, I attached their boats together to form a Celtic cross which was suspended from the ceiling. I covered the walls of the gallery with the names of families that lived in the area during this time period. This installation was mounted at Yerba Buena Center for the Arts in San Francisco during their “Day of the Dead” exhibit.

"Give and Take" Installation at Oakland Museum of California, 2002

The open web-like filaments are drawings suggesting line and form suspended in space. They are comprised primarily of pantyhose.

People ask me why I use pantyhose as a sculpture material.  I came upon this magical fabric while in the MFA program at Mills College in 1988.  I wanted a material that was pliable that I could easily manipulate and that was translucent.  I was interested in structure and forms of natural morphology - like membranes, hanging skins, fragments of body organs or of cells and amoebas.


 detail
"Give and Take" Installation at Oakland Museum of California, 2002

"Light"

48" x  12"  x 1.5"
fabric

"Dark"

33" x  23"  x 4"
fabric

"Frog Web 1 & 2" and
"In the Corner VI"


fabric

"In the Corner IV"

9" x  3"  x 3"
fabric

"In the Corner II"

48" x  23"  x 16"
fabric, thread, pins

"Purple Stretch"

21" x  17"  x 5"
fabric, thread, pins

"Frog Web 2"

44" x  70"  x 5"
fabric, thread, wood, wall text

This is part of a larger body of work titled “Hardly There” investigating endangered species and our planet.

"X" 

The color and translucence of the cast rubber reminds me of amber. Bits of various fabric, unspun wool, found objects, or human hair inclusions sometimes project out of their confinement or cascade to the floor. These objects, though illuminated beneath the surface by the light passing through, become enigmatic and mysterious to me. 

"Hairbrush"
"Rubber Squared"


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