My work has a natural immediacy, like a snapshot, capturing the chemical reaction of liquid inks as they are pushed into paper with a press, or sculptures that move with ambient air currents around them, interacting with the viewer.
I am interested in new realms within the field of unique prints via innovative technique and scale. The deeply embossed prints begin with an elaborately textured matrix consisting of natural forms, including aerial views of landscapes. I love the sensitivity of a wet piece of paper which perfectly records the wild and varied objects and inks, allowing saturation deep into it — or thick, reticulated ink poised on its surface, translating the moment the chemistry is caught and transfixed into this sculptural monoprint. The visceral quality of large scale prints offers a highly textured physicality only possible with the specialized equipment we have built for this purpose.
After years of bronze casting, my interest in paper has turned to casting trees with paper. Using crepe myrtle trees felled during hurricane Katrina, I form the spines of these sculptures with archival abaca paper over the trunks and branches, with the help of a structural steel armature. Comprising a series called Wonder, these sculptures are finished with individually torn translucent vellum tendrils. Some have drops of crystal at their extremities, which hold points of light, and defy gravity, like beads of water traveling along strawberry leaves. While these appear fragile, the abaca paper is incredibly durable, adding to the work’s conceptual information. With close inspection, the surface reveals the individual placement of fingertip-like pieces of abaca, forming a complex, textured surface. The kinetic aspect of these works allows them to exist in space, as we do. Animated by the viewer’s ambient air movements, they become directly involved with their audience, while producing a dance of shadows.
My work attempts to elicit an experience rather than recording or depicting an object or place; ideally, communicating aspects of being human, as I continue to grapple with that complexity.