Works > folding grids

orderly disorder
ink, acrylic, layered silks
43.5 x.36.5 x 1.5"
2019
grid artifact: base bound
clay and glaze
8 x 7 x 4"
2019
solutions
pencil, ink, acrylic on layered silks on birch panel
15 x 16"
installation at Project Diana, The Alice Gallery, Seattle, WA, 2016
silks, acrylic, fabric dye, magnets, rusted sheet metal
5.5' x 9'
2016
calm
ink and acrylic on layered silks on birch panel
8 x 8.75"
2018
flat, folded (then) flat, flat (then) folded
graphite, ink, acrylic on layers of silks on birch panel
14.5 x 46 x 1.25"
2018
hungry birds
clay and glaze
10.5" high, dimensions variable
2018
terrain
acrylic on silk on panel
12 x 18"
2019
extended
clay and glaze
5.5 x 5 x 5"
2018
grid artifact: spider
clay and glaze
4.75 x 5 x 2"
2019
protected
ink, acrylic, thread, layered silks on birch panel
15.5 x 13 x 2"
2018
rationale
ink and acrylic on layered silks on birch panel
15.5 x 16.5”
persistence
ink and acrylic on layered silks on birch panel
10.5 x.10.5"
2018
baked white
silks, acrylic, ink, cookie sheet, rivets
11" x 15"
2016
winter dark
graphite and acrylic on layered silks on birch panel
16.5 x 23”
umbrella
acrylic on silk on birch panel
16 x 20"
2019
early
ink and acrylic on layered silks on birch panel
11.75 x 12.25"
2018
crushed blue
acrylic, gesso, graphite, silks, magnets, rust, sheet metal
22" x 22"
2016
standing grids; dark grey
clay, glaze, wood, acrylic
11 x 12 x 11.5" (dimensions variable)
2019
awry
ink and acrylic on layered silks on birch panel
15 x 16"
tensile
acrylic, pencils, silks, magnets, rust, sheet metal
10 x 11.5"
2016
crushed white
acrylic, graphite, ink, silks, magnets, rust, sheet metal
22" x 22"
2016
monuments
Clay and glaze
@ 5.5 x 3 x 3" ea (dimensions variable)
2018
impasse
graphite, ink, acrylic on layered silks on birch panel
11.75 x 11.25”
2018
dark matter
graphite, ink, acrylic on layered silks
22" x 22"
2017
grid artifact: full
8 x 7 x 4"
2019
fallen white
acrylic, plastic garden netting, silk, found stretcher bars
22 x 20"
2016
standing grids, dark cement
clay, glaze, wood, acrylic
11 x 13 x 11 (dimensions variable)
2019
forceful
ink, acrylic, thread, layered silks on birch panel
18 x 19 x 2"
2019
honeycomb
acrylic, ink silks, magnets, rust, sheet metal
18" x 18"
2017
looming
acrylic on silk on birch panel
18 x 18"
2019
deep
in and acrylic on layered silks on birch panel
7.75 x 10"
2018
crushed facade
acrylic graphite, ink, silks, rust, sheet metal
22" x 22"
2016
covered
clay and glaze
6.25 x 4 x 4"
2018
escape
ink, acrylic, thread, layered silks on birch panel
15.5 x 13 x 2"
2018
obfuscate
acrylic, ink, thread, layers of silk
11 x 12"
2017
travelling
ink and acrylic on layered silks on birch panel
11" x 11"
2017
standing grids; cement
clay, glaze, wood, acrylic
11 x 14.5 x 11.5 (dimensions variable)
2019
converse
acrylic on silk on panel
14 x 18"
2019
imposing
acrylic on silk on panel
14 x 18"
2019
not lost
rust, ink and acrylic on layered silks on birch panel
16.75 x 15.75"
2017
limb
ink and acrylic on layered silks
23.5 x 23.5"
2017
fallen blue
ink, acrylic, silk, found stretcher bars
22 x 20"
2016
reptilian belly pots
10.75 x 10 x 10 (dimensions variable)
2018
traverse
acrylic, silk, magnets, wood, rust, sheet metal
2 x 11.5 x 2"
2016
structure
11.5 x 6.5 x 8"
2018
cross dressing
silk, acrylic, thread, grommets
48 x 44"
2015
early folded grid
silks, acrylic, ink, rivets, sheetmetal, rust
32" x 28"
2016

Folding grids

I've been exploring the interplay between objects, and the image of an object on a flat surface. How does the flat surface of a painting rise upward to make a sculpture? Or conversely, how can I flatten a sculpture? Grids in mathematics are used to designate the position of points, lines and curves in empty space. But in art, grids speak also to a nearly mystical and meditative space. I hold both simultaneously. I use grids as a common, uniting thread among many of the works - grids folded in 3-dimensional space, and flat images of grids stretched and folded.

I work with silk, clay, pigments and metal. I like to collaborate with the way these materials respond to physical forces. Clay bends, melts, hardens, and sometimes cracks or breaks when heated to temperatures that would turn anything organic to ash. Silk holds shaped memories of my alterations, and yet still responds to gravity. I can hold silk to metal with magnetism. But rather than impose a rigid form or design, I prefer unpredictable responses to physical forces, especially gravity. I like to see results that hold records of the movement and tension generated in my work with materials. I want to see things that hold mystery, even to me, and invite the viewer to wonder what they are looking at.