Is It Time? is a site responsive installation in conjunction with the 2016 COPE NYC Artist in Residence program at the Old Pfizer building in Brooklyn, culminating in the exhibition, Reduce, Reuse, Recycle, Reimagine - The 4 R's.
28 x 26 feet
One thing deeply important to me is the idea of place. Of home. A space for digging in, finding the hidden in the revealed. Creating a personal archeological site by excavation through process and time.
These works are site responsive installations created in my studio. Size is variable and approximate, from 3 x 6 to 8 x 11 feet, with smaller bundles from 12 x 14 x 10 to 18 x 18 x 12 inches. Materials I use for mark making are found, gifted, and recovered construction materials, like scaffolding wire, bricks, wood panels, rusty metal plates, burlap, plastic, and rope.
Recycling, imprinting, mark making, gestural residue. I use canvas as site, as the landscape, the container of place. Dye is a primary material for transforming that landscape along with marks as records of my body's activity.
I am interested in how we carry the weight of our life experiences with us and in communicating that as evidence. I am also interested in how those experiences accumulate over time and are manifested physically; how our perceptions are layered and shift and expand and blend together to bring us to where we are today; of how we are infinitely adapting ourselves to wherever we are, merging together, making any place we find ourselves our home.
COPE NYC 2017
Located at Acumen Capital Partner LLC Building
630 Flushing Ave. 3rd Floor, Williamsburg, Brooklyn
October - December 2017
A Shadow Play Installation and Performance:
In the spirit of creative reuse, this installation of shadow play, spoken word, and music engaged participants in the construction and creation of a sea of fish using a variety of donated and collected materials. Culminating in a series of interactive performances and workshops, Fish Bones tells a story inspired by the Taino myth of how the sea began, speaking to how communities come together and support each other in the face of overwhelming circumstances.
90 Miles of Blue is a two part installation included in the group exhibition, "Blue", at Lowe Mill in Huntsville, Alabama. It was on view from September 1st through October 30th, 2017.
While making this work, I was considering the color blue both as metaphor and reality. As metaphor, the blue of distance is about looking for the future through space and time. Having that future unknowable but none the less desirable. This blue of distance represents my deepest self, my desire to be known by others. As reality, I actually perceive the blue of distance through light and space. It is about presence, actually being present. Here and now. Reflecting on how I was once looking in this direction, but now I am here, with all of the collective experience of that journey. In 90 Miles of Blue, the thing that happens is the blue of distance can become a place. A location. The residue of blue, the attaching, the marking by something else, this location making, reminds me of how people and things spread out over place and time and how our relationships overlap and become more rich and nuanced. We are here and now, together, in this place, the accumulated blues of distant pasts.
The exhibition was conceived of and curated by Karen Graffeo. The underlying concept was based on the idea of the blue of distance as put forth by Rebecca Solnit in A Field Guid to Getting Lost.
Site responsive installation at Splitty's which was part of a broader group of site specfice exhibitions for Drawings Along Myrtle in 2014.
Time, Light, Color, Space, Texture
Walking is part of my life. Moving in and around the world is like being the blood in the veins of the environment. I become part of the support system of the world we all inhabit. Through the digital lens I capture a moment in time, a place, framed in the square, focusing the seen.
I ran as fast as I could
Full of myself
That you would want to see this
As much as I did
2015, 7 x 8 x 8 feet, acrylic gels, bamboo, bricks, ropes, sand, water, sky
Site responsive collaboration with Rich Vivenzio for Haverstraw RiverArts Festival
7 Hours in 26 Seconds is a site responsive installation that was part of the group exhibition, Bigger Bolder Better.
The work is approximately 18 x 20 x 5 feet. Each colored gel shape was hand cut in response to the interior and exterior environment, then attached to the windows and activated by the sunlight as the earth rotates. I consider this work painting with light.
The show was curated by Etty Yaniv, Jaynie Crimmins, and Christina Massey. It was on view in June of 2017 at 470 Vanderbilt, a chashama Space to Present site.
I walked a block
More likely several miles
To find you.
1,012 found objects, map pins
13 x 7 x 1.75 feet
Site responsive installation for Popular Culture is Where the Pedagogy Is at The Hole, New York, May - June 2016
Every day that I am fortunate to wake up in this world, I take a photo of the morning light where ever I am. Usually it is at home. At the end of each year, I create a digital photo montage of the accumulated moments of light, one of which is part of my Where in The World series.
Vefa, 2015, 13 x 6 feet, hand cut and woven clear lay gels, wire, feather, tape
Site responsive installation for Light Industrial Ecosystem at Garner Arts Center