2018

monoprints

As a respite from analytical thinking, object inquiry and precise working, I turned to pleasure – in color.  My eyes needed a balm against the dark days and low skies of the Northwest in winter.  In other work I was thinking – in this this work, I was rolling.  As an artist new to ink and color, I indulged: giving time to instinct, to surprise, to ink against ink, color against color.  Things went right – and things went rightly wrong.  

2018

archival digital prints

As a respite from analytical thinking, object(ive) inquiry and precise working, I turned to pleasure – in color.  As part of printing, I saved my ink. Carefully folded wax paper packets became a grid structure behind the messy body of the ink. In monoprints (‘Rainbow Rolls, Portland Afternoons’) the ink is color, optics, mood and feeling. In #SavedMyInk, it is pigment and substance, both liquid and solid - pure potential. Literal versus imaginary. Fact versus fiction.

2017 - 2018

These weavings use modest, direct means to pursue ideas about regional identity and local character. As a politically engaged person, I look for the qualities of the ‘local’, as a way to reflect on the political implications of the ‘national’. My materials are in the local groceries stores of Kansas City; Ames, Iowa; Fenton, Michigan. My inspirations for pattern and composition are the views from the highways: the modernist designs of Nebraska’s I80 rest areas, the patterns of Iowa’s new windmills against its long-planted fields. 

This work takes my research into the terrain of American households, local communities and regional identity through the franchise, the small business narrative, success and failure. This could be seen as a grand narrative, but rather than grand, I am interested in the modest, the small-potatoes, the low stakes. The Midwest has captured me as a vehicle for this set of interests.  

2018

Collograph Prints

These prints use modest, direct means to pursue ideas about regional identity and local character. My focus has been the Midwest; and my research has been through road-travel and within my own community. My object-vocabulary comes from Detroit-area estate sales, thrift stores in Des Moines, Iowa and hardware stores in Lincoln, Nebraska. I use objects and materials directly –inked milk crates and flyswatters, for example – as a way to discover the meanings in daily things and the possibilities for reconsidering them.

2017

collagraph prints

2017

collagraph prints

2017

collagraph prints

Tooled Leather Flyswatters created for MoreLand 2018

Edition of 15

2016

monoprints

2016

monoprints

2016 - 2018

monoprints

2016

A 'zine made from the viewpoint of a young adolescent  girl.  All pages are photocopies of things from around my house; things she would have loved, feared or have been becoming.  

 2015

woodblock prints

2014-2016

instagram feed

2014-2016

instagram feed

2011 - 2013

ink on paper cups

2007

a jewelry collaboration with Maria Philips

 2006

steel voles, burned canvas coin bags

2004

veneer, steel, vitreous enamel

2003

wood sculptures

 2002

projected neckpieces

This series of projected neckpieces was an exercise…

to merge object and image,

to push at the conventions, traditions and expectations of the metalsmithing field,

to wonder at all that could be “worn” if time, space, gravity and the physical world were not as they are,

and to reflect on how what we do changes how we see.