I work in a range of disciplines and scales creating drawings, prints, installations and buildings. Installation has become the focus of my creative practice in the past several years because it allows me to integrate my many interests and creative pursuits. I think of my installations as three- dimensional drawings: I often use linear materials, such as ribbon and rope, to define space and form. In these works I explore how structural forces, tension in particular, can pull a construction out of the realm of two dimensions and into the realm of three dimensions. I use tension and gravity to both build and distort form. Architecture has taught me to think about how fabrication and construction influence art making and how the constraints of a project (site, budget, shipping, logistics, time and available labor) can serve to inspire and stir up a creative process rather than undermine it.
Many of my installations focus on the way built forms relate to landscape. I notice the human tendency to impose geometric systems on the spaces we occupy. I have observed that these “geometries” are often compromised and changed by “nature” – the topography of given site, weather or gravity. I see this juxtaposition between nature and order in agricultural patterns, in maps, in computer renderings of natural forms and in textiles. In my artwork I explore this “middle ground” where nature and order meet. I often set up a contrast between my installation and its environment by using everyday materials in surprising ways and by emphasizing color, texture and geometry. My goal with installation is to transform prosaic space into a charged space to dislodge myself and the viewer from the unfocused gaze we so often direct at the everyday world. The temporary nature of my installations heightens this experience.
My drawings are influenced by my experience in printmaking. To make the drawings in the Ribbon series I use pressure to transfer the image by making a series of rubbings with graphite of the strands of ribbon as I shift them beneath the page. These drawings are simultaneously highly representational and abstract, static and dynamic. This allows for an ambiguity of perception and invites the viewer to experience what I call the “Unexpected Familiar”.