I am an educator, documenter and storyteller. My work is often a form of documentary autobiography. The world around me provides the framework that initiates and informs the conceptual evolution of enigmatic objects and environments. Using the personal I represent the universal in a continually evolving spiral of work, in which I return and revisit themes, developing interrelated pieces that prompt recollections, thoughts and questions from the viewer.
Life and art merge. In my world, daily rituals and everyday objects are part art and part life; making tea in the morning is performance, wrapping a birthday present is art, students in my seminar are subjects for my art, my art is a subject for my students, my audience becomes performers and so on. I observe moments and people that pass unnoticed in a day, I record history; remnants and traces; presence and absence. I celebrate life and honor death. In “Meaningless Chair IV” I bandage a broken chair with bloodied dressings. I fell down outside my studio badly grazing my knee without spilling my coffee; the graze became infected and festered, this prompted me to research the Massacre at Wounded Knee. I discover the story of a brutal and pointless massacre that came about, in large part, because of fear. For me it resonates with events today. The chair is seductively beautiful, but when you get close you see the ugly remnants of a wound.
As an artist I desire to be an educator. As an educator I am a facilitator in the Socratic tradition, asking rather than telling. I want the viewers to think, and through thinking, make connections and become a little more knowledgeable about their world and themselves.