I was born in Berlin and live and work in Chicago. I received a BA in Philosophy from North Central College, Naperville, Illinois and an MFA from the School of the Art Institute of Chicago.
My work includes video, digital photography, sculpture, and painting and has been shown in museums in the US, Austria, England, Germany, Czech Republic, Slovak Republic, and Malaysia.
I work with lines and numbers. The concept of ‘line’ is a human invention like letters and ciphers. Lines are objective units of visual reality not found in Nature. Abstract components of space are two- and three-dimensionally described eliminating arbitrary gesture and subjective design. Placement, scale, and mathematical concepts relating to objects in space are an important part of my work.
Recent light sculptures, paintings, and drawings are based on mathematical systems she uses working with a computer. Seemingly random lines convey dynamic movement based on connecting the interior space of a given number of outlines and the spontaneous generation of number systems.
In 1975, I proposed the idea of a live line in real time generated on the computer. I watched a line invent itself, as a small green phosphor, traveling across the computer screen. Just like radii make up the circumference of a circle, many small green dots made up a line on-screen in real time.
In a series of paintings and drawings titled Random 1111 8888, I am composing eight lines at a time, generating more than 60,000 unique and original works. I worked exclusively with the computer medium until 1982 and began using light tubes in 1986.
The light pieces return to and integrate my use of outlines when I connect each tube to the electrical circuit and close the invisible circle of energy within my community. These light 'drawings' in space integrate the painterly concept of foreshortening into sculpture. Although each ‘light line’ is of equal length, this is not what the viewer sees. Installations are improvisational and each work is unique every time it is “performed'.
I have been influenced by the conceptual artists of the sixties, including Ian Wilson, who ultimately dematerialized the object, using language in his early discussions. Three-dimensional grids in Sol LeWitt’s work and Lawrence Weiner’s practice of using language as an element of sculpture transferred into the 2-dimensional plane also influenced my thinking.