With a BA from Sarah Lawrence College in 1989 and an MFA in Fiber and Material Studies from the School of the Art Institute of Chicago in 1994, I have spent the past 20 years utilizing a strong background in the liberal arts to create site-specific, mixed media installations, and works of public art that are generated by the history, culture, environment, nature and architecture of a wide range of venues. While living and working as an Artist-in-Residence in France, Costa Rica, California, the Midwest, Germany, and my home of New York City, my art career has developed into a process of working in collaboration with each new community as a means towards developing an interpretation of the sense of a place as an outsider looking in.
My exhibition record includes one-person shows at the Atelier-galeried’Art Contemporain: Arras, France; Museo de Arte y Diseño Contemporaneo: San Jose, Costa Rica; Dina4 Projekte: Munich, Germany; Temple Judea Museum: Elkins Park, PA; as well as chashama, Casa Frela, Littlejohn Contemporary, Brooklyn Botanic Garden, Lower East Side Tenement Museum, Hudson Guild and Casa Frela Gallery in New York City.
The award of a Pollock/ Krasner Foundation Grant in July of 2003 aided greatly in the rebuilding of the sculpture Grass Skirt Extra Large for the traveling group exhibition Material Terrain, which opened at the Laumeier Sculpture Park and Museum in February of 2005. It was a great honor to be in this show alongside Roxy Paine, Ursula Von Rydingsvard and Dennis Oppenheim. In 2001 the New York Stock Exchange, Met Life, LMCC, the New York Foundation for the Arts and the New York State Council on the Arts’ Architecture, Planning & Design Program made grants towards the public art project Re-Covering the Cityscape: Impressions of History Underfoot, which investigates and commemorates lost elements of history through the design of abstract mandala-like patterns cast in the form of functional manhole covers. The project’s first manhole cover was installed on Wall Street in 2002.
I have been awarded residencies at Skowhegan in 1996, the Marie Walsh Sharpe Art Foundation’s Space program in NYC in 1999, the Headlands Center for the Arts in Sausalito, California in 2002, and at Le Quai de la Batterie, Atelier-galerie d’Art contemporain in the north of France in 1998 and in 2002. In 2008 I was awarded an Artists and Communities grant from the Mid Atlantic Arts Foundation for my one-person show and residency at the Temple Judea Museum. Most recently I have worked as a resident artist at Ox-Bow in Michigan in 2011, the Hudson Guild community center 2011-2012, and at Emmanuel College in Boston, MA the summer of 2013.
During the spring of 2006 I completed three major permanent public art installations in New York and Texas for the Metropolitan Transit Authority’s Arts for Transit program, the Department of Education’s Public Art for Public Schools program, and for the city of Frisco, Texas’ Percent for Art program. In 2011 I was awarded the Best 3-D Entry at the international art competition Art Prize in Grand Rapids, MI by juror Glenn Harper, for the installation Nature Preserve. I have also installed temporary public works on Governor’s Island for Figment and in the cities of Boston, Philadelphia and Seattle.
The success of my work thrives on the interaction with new communities and environments. Through a careful investigative method involving the gathering of regional materials, native plants, local stories, architectural landmarks and historic research I have focused on the creation of site-generated works of art that illuminate the unobserved in our day to day surroundings and the challenges facing our environment.
I have developed an interdisciplinary practice that incorporates a wide spectrum of resources and techniques. I am intrigued with the process of creating a controlled environment where the work organically develops and changes over time. This form of artistic creation represents the constant state of entropy we live in, and how the delicate characteristics of memory and time can both erode and enhance our interpretations of experience.
With each new project I lean towards a minimalist approach. I focus on exploring the formal use of light, color, pattern, space and time - by interweaving manmade, natural, and living materials to create a sense of elegance out of the simplest of gestures. My intent is to evoke a visceral encounter that comments on the compartmentalized preservation of Nature and History, while planting a new awareness of the tenuous relationship between ourselves, nature and the built environment.