I am a process-focused artist originally trained as a sculptor. The no-man’s land between the 2D and 3D worlds forms a through-line in my work. To explore this zone, I draw on a range of approaches including site-specific installation, mixed-media studio sculpture, and social practice. 

   As resident artist last year at the interdisciplinary Konrad Lorenz Institute (KLI) in Vienna, I developed a community-based project. The project emerged through interviews and day-to-day conversations. From my workplace in the central atrium, I met with the research scholars to learn about their investigations; I later invited each of them to play an active role in creating a collective visual metaphor for their diverse processes of inquiry. Working on one of the building’s stone doorways, each participant used their familiar medium of printer paper to map a portion of the surface. This paper relief layer was eventually peeled away, reassembled, and suspended nearby to appreciate the mappings as well-defined acts of knowing, and to reveal the many vacant undefined spaces in between the molded pages.

   In an ongoing series titled, ‘Seated Figure’, inspired by a fragmented Mayan ceramic sculpture, I have been making small clay figures with open interior forms that blur the boundary between inside and outside spaces. Blurring this distinction further, the inside/outside ceramic figures are broken after firing. After partially reassembling the fragmented pieces, these boundary-challenged composites are then re-presented as black and white photographic images.  

   At a larger scale, recent site installation projects have engaged natural settings. At I-Park (East Hampton, CT) I considered the latent spatial relationships in a forest grove.  I invited viewers to follow a path defined by an implied level-line, marked by suspended wooden panels that also traced the contours of trees.  The horizontal edges of the panels jointly implied a kind of movement through the acres of woodland, while the space between each panel and its adjoining tree defined a not-seen version of each tree’s shape.  As viewers perceived this sequence of absences as they walked the path, these not-seen participants were there to be felt from the encounter.