Artist Statement

My art addresses issues of social, cultural, and political gravity. Utilizing familiar imagery, I present my views on momentous historical and cultural events. I call myself a “Visual Essayist.”

My process is unique to the piece, from hand dyed paper, silks, and dimensional complements to unusual presentations such as mounting on toy guns, utilizing oversized and embellished fleece prints, or hanging 3D objects such as covid balls, nooses, and WWI airplanes alongside the piece. The art of stitchery both unites my process and emphasizes the feminine historical significance of this important art form.

Disrupting complacency, encouraging dialogue, and provoking the viewer to examine issues that affect us all, the act of creating helps release my frustration over these thorny and complex ailments of our age.

Collection Statements

“Out Load Art”

Utilizing familiar and iconic imagery, often of conflict and pain, and placing these images within backgrounds that are exuberant and colorful creates tension between the gravity of the subject matter and the cheery playfulness of the presentation. I tempt the viewer's interest with vibrant colors and a variety of surface techniques. Initially, I paint with powdered dyes on silk (or archival paper) or I print my photographs on fabric with colorfast inks. I paint with thread utilizing the sewing machine's free motion feature, feed dogs dropped for control, with vivid rayon threads of all hues and sheen. Stitchery is my vehicle for mark making as well as for color blending. Embellishments complete the piece and may include my polymer clay figures, my separately constructed 3D fiber creations, or acquired items.

“Of Victims and Violence”

This series illuminates the horrific damage done by assault weapons, uncontrolled police violence, our shared history of white supremacism/racial intolerance as well as global atrocities. Often these works are mounted on painted toy rifles Sometimes, as in my diptych “Wounds the Size of Oranges”, these rifles are pointed directly at the viewer and extend 15 ” from the wall. In contrast, the pieces themselves are done in the softness of silk; many are rusted with automotive brake pads which adds a gentle circular element. I want the viewer to sympathize with the silky softness that encompasses the victim but at the same time recognize the harsh reality of the assault rifles upon which they are mounted. Some atrocities were committed prior to the sad of reality assault rifles. These works have their own mounting apparatus that purposely invades the space of the viewer. One example is “Laura Got Lynched From the Bridge” which utilizes a noose hanging from the ceiling to convey the horror of the violence.

“Art Installations”

Installations I have so far exhibited are re-cyclable. Many are wall installations and their mounting apparatus is meant to give added significance to the work….for example, one of white supremacist Proud boys marching in Charlottesville, ”Very Fine People”, is mounted on metal tiki torches with silk flames. The delicate origami birds mounted on two layers of clear acrylic bars representing the victims of mass shootings in “Forgiving-ness”, the softness of a silk rendering of the horror of a woman being lynched with a ceiling-hung noose hanging in front of the work in “Laura Got Lynched From the Bridge”.. all of these methods add to the comprehensive presentation of the art. I have also made large floor and ceiling mounted installations, and example of beauty vs horror is “Assault on Orlando which is comprised of a gigantic AR 15 made of sequins, lace, and colorful beading with the victim’s photos and empty gun shell casings atop a rainbow pride flag on the floor. Hanging from the ceiling are 49 multi colored silk origami birds representing the 49 victims.