This series of monotypes were created at Weir Farm Art Center, Wilton, Connecticut as an invited guest of photographer, Mary Ellen Hendricks Artist-in-Residence, for two days. Using native plants and flowers, my intent was to connect to Hendricks’ landscape photography to the past and present space of the historic Weir Farm estate.
Monotypes Petal Pigment, Graphite 14" x 16", 2018
Scratching The Surface 01
Scratching The Surface 01, watercolor paper, 14” w x 18” h x 7” deep
Scratching The Surface 02, watercolor paper, 16” w x 20” h
Scratching The Surface 03, watercolor paper, 11” w x 14” h SOLD
This body of work, created from paper references women's bodies by investigating boundaries and resilience with private and personal space. To "scratch the surface" means to examine a surface superficially benefiting from a small part of something much bigger. In this process, analogous to the female form, I subvert the concept of scratching the surface by suggesting a bigger materiality lies underneath.
What Remains 01, petal pigments, graphite 29” w x 36” h
What Remains 02, petal pigments, 29” w x 36” h
What Remains 03, petal pigments, 29” w x 36” h
My series of works on paper, What Remains, explores loss, ritual, and reappropriation. Flowers have long been associated with the passing of life. Shifting the context of mourning rituals and burial conventions, I reclaim live funerary flowers as mark-making tools. I employ color from the floral petals reabsorbing their vibrant materiality into the paper surface. Reappropriating the remnants from the reproductive organs of plants, I offer renewed traces to life. What remains is a narrative of remembrance with a new existence.
Replication 01, charcoal monotype, 29” w x 36” h SOLD
Replication 02, charcoal monotype, 29” w x 36” h
Replication explores the imprint on the body. In my drawing process I referenced Guggenheim Museum fellow artist, Dorothea Rockburne, who's interest in paper was "not just as a ground for drawing but as an active material." In these monotype prints, the matrix and printed surface are one and the same.
Burden, charcoal monotype on paper, 29” w x 36” h
Burden explores the weight of the social imprint on women. The monotype is printed on the same paper as the charcoal matrix investigating this unending cycle.
Obliterate, charcoal on paper, 29” w x 36” h
Obliterate, is an intentionally unfinished drawing that relies on the process of the work, rather than completing the drawing. I referenced Louise Bourgeois practice regarding finishing her artworks, "when there is nothing else to take away, it is finished." In my approach, I alternated rubbing and scraping graphite marks on the paper surface to create an irremovable stain. This work serves as a metaphor for layers of real-life conditions of that accumulate and obscure the preceding ones over time that are left unresolved.
Absence, photography, 24” w x 36” h
In the photograph Absence, the intent is to question objectification of women while reconstructing a new context. I deny the viewer the actual image of the figure I photographed leaving just a trace of the photographic event.
Material Body Series
Material Body Series 01-04, photography, 16” w x 20” h
This Material Body Series of photographs relates to Maurice Merleau-Ponty’s phenomenological viewer-object discourse where the “subject and object are not separate entities but are reciprocally intertwined and interdependent”. I staged my photographic set with a female model, fabric, and a slab of upholstery foam mimicking the home and the connotations of sexuality associated with a bed. I explore the material body and the inherent contradiction of protection and concealment with control and power.
These photographs explore dominance and the inherent exploitation of women in patriarchal society. I explore the material body and the contradiction of protection with control and power.
Social Imprint 01-08, charcoal, paper, skin
This body of work explores the perception of the social imprint by photographing printed surfaces on the skin. Similar to a stain, the images refer to something difficult to remove. The works devoid of color result in forms that blur the boundaries between the marked skin and paper surfaces shifting the figure-ground relationship.
Amorphous 01, graphite on paper, 29” h x 36” w
Amorphous 02, graphite on paper, 29” h x 36” w
This pair of graphite works on paper investigates private and public spaces: a spatial form within a boundary and a form that blurs its boundaries. Similar to stains, the works refer to marks on something difficult to remove: a moral blemish or a conscience stained with guilt.
These pair of photographs investigate female objectification. I explore this concept by asking the question, “How does the object (person) feel being objectified?”
Pull, photography, 20” w x 12” h
In my photograph Pull, I explore dominance and desire between the viewer and the subject, and the inherent tension between the perception of women and patriarchal society. In this process, I examine whether women are being pulled into or pulled against the tide of dominance and desire.
Lampshades Installation, photography, lampshades
In this installation Lampshades, I blur the boundaries of desire and sexuality within the context of the female body. I examine skin and materiality, with traditional patterns of behavior and common objects forming relationships between the real and the imagined.