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Bubbles of ancient CO2 captured in Arctic ice; mottled landscapes of mold that grew inside houses in the wake of Hurricanes Katrina and Sandy; trails of fluid formed by the liquid contaminants in urban runoff – these phenomena represent nature in transition due to our culture’s impact on the environment.
The formations that manifest at such sites inspire me, in part because I have always lived at the water’s edge, from my childhood on Cape Cod to adult life in New Orleans and New York City. Hand blown glass sculptures evoke both bubbles in ice, and the fragility of the environment. A series of kinetic sculptures and wall drawings made of tiny black and white-headed pins borrow the patterns of mold in New Orleans after the floodwaters receded; a multi-channel video projected on to glass windows of a service station captures the chemical turbulence on the surface of puddles on the streets of New York, and an installation of over a thousand hand-built porcelain sculptures represents marine barnacles that will increasingly occupy coastal areas as our actions warm the globe and waters begin to rise.
Environments under stress are more than a thematic aspect of the work as the materials themselves have transitional qualities and are subject to interactive and evolutionary change. Ceramic sculptures are bisque-fired, without the final firing that would render them impermeable, leaving them porous and vulnerable. A series of blown glass “bubbles” installed in an outdoor urban lily pond take on water and algae as they become a part of the landscape, and reflect the world around them.
I explore the liminal space between nature untouched by human intervention and the “new nature” we create every day.