Artist Statement 2004 – 2007
For several years my artwork has been inspired by estuaries. I’ve
been exploring flow patterns, saturation, and sedimentation in
liquid media. I have traveled by kayak and on foot up sloughs,
along shores, among reeds and through mud to study wetlands. I
have used water, salt, mud, and reeds in my studio experiments. My
concerns are about flow and form. These images reflect
our cellular structure as much as the shape of estuaries. Estuaries
are a mix of salt and fresh water, similar to our own intercellular
fluid. The rhythmic exchange between land and water gives
us a rich metaphor for dynamic equilibrium. The cyclic
nature of tidal marshlands is a reflection of our own cycles
I have been constructing a series of multi-sensory installations
with hanging panels that are touchable, move in response to the
viewer’s movements, and in some cases can be walked upon. The
scroll form suggests story or language; the images invite a journey
through their details. My newest work includes pendulums
and spinning sculptures which speak more literally about the
cycles of the moon and tides, and the movements of water and
mud. I am juxtaposing moving images against still images
to suggest interrelationship that is physical, kinesthetic, and
I am suggesting a different view of ourselves, our inner nature,
and our relationship to outer nature. Our control of nature
in agribusiness and development has been paralleled by our fragmented
and controlling view of our bodies and our health. The
health of our waterways is one of the most important ecological
concerns facing us. With my artwork I want to invite a perceptual
shift: self-recognition and embracing our fluid nature can potentially
change the way we regard both our own health and the health of
Statement 1990 - 2004
drawings emerge out of a fifteen-year investigation with drawing
as a means of mapping and a crucible for inquiry: what is it to
be a soul with a body? Can I record the experience accurately
rather than realistically? The body experienced is
a very different body from the one that we can see with our eyes.
This process of questioning perception seems to tap into a collective
body and a collective mind with infinite guises and expressions.
work with both hands, and sometimes with eyes closed -- less
a drawing technique than a drawing foray or approach.
Drawing with two hands brings in the whole body-mind, and the
visual result is an odd, liquid 3-dimensionality, similar to
vision with two eyes, but with a different sense of form and
space. Drawing in this way reveals but doesn't name. I call my
Drawing (somatic refers to the body as a multi-layered
experience). Presence in the act of drawing brings a presence
to the image.
seems to hold so much about the human need to communicate. Paper
is still made of the most basic natural materials. It is like
skin, and it is related inextricably to the ancient roots of language.
Drawing also shares its roots with written words and characters.
To make a mark has meaning, even if the meaning is not known before
the mark is made. Drawing is an open language, unavoidably human
and culturally eclectic. The naked mark on paper is the essence
of our longing to connect.