I use materials as metaphors to express psychological content. Their physical manifestations represent such dialectical oppositions as hard/soft, masculine/feminine, open/closed and natural/fabricated. I utilize a wide array of materials. At times, ideas are generated by materials, but usually ideas dictate the choice of materials and working processes which include construction, wrapping, weaving and coating.

The forms contrast vulnerability with a more formal ordering mechanism. This contrast of structures and textures and forms is employed to suggest particular states of being and convey conceptual content. The recent work, the Computer series, the Communication series, and the Keyboard series combine humanmade objects with organic forms. They reference our technological culture and its impact on our bodies, minds, and relationships.

The first piece in the Communications series, Overheard, is a mixed-media piece made with telephone handsets that sit on the floor. They are attached to the wall by their stretched-out wires. Attached to the handsets are metallic-colored anthropomorphic forms that recall mummified remains. It is an expression of the contradictions of contemporary communication. The second piece in this series, Can You Hear Me? uses the handsets and tangles of yarn, wire, tubing, etc. to express the challenges of modern communication while resonating with the antiquated playfulness of a “tin can and a string” method.

The works in the Keyboard Series are built from discarded computer keyboards combined with mixed mediums such as copper wire, security glass, plaster, leather, wax, etc. This series speaks to my work experience as a graphic designer, also to the relationship between my body and the computer. The keyboards utilize the computer keys to create language which expresses a deeply personal content. The “messages from my keyboards” relate to current and past relationships with myself and others.

Pushing Through, is the second in a series of computer carcass pieces. The computers are combined to form a wall. Organic forms have been placed inside each computer. The forms transition from heavy, massive forms at the bottom to light, energetic forms at the top, activating the carcasses. They juxtapose human corporeality and energy with technological repetition and coldness.

The Untitled Computers series addresses the impact that our discarded computers will have on our environment. The contrast in materials speaks to the decay that will ultimately overtake our technological refuse.