I live in Berkeley, California where I often find myself walking and collecting discarded books. I grew up in this locale and in a household surrounded by handmade books and broadsides. Additionally, the San Francisco Bay Area has a lot of small independent presses, which produce books with little economic value, but great care of production is given. These experiences led to studying poetry at UC Berkeley. The study of poetry was about thinking through ideas in a nonlinear way. Much like poetry my artwork is removed several fold from the original point of conception.  In addition to works on paper, I work in the mediums of installation and sculpture.

 

To speak further to my art practice let me begin with a body of work. In the series, “The Horse’s Mouth” reproductions of Renaissance painting have been taken out of books. Using black ink I have gone over segments of the images: tools, weapons, people, clothing and architecture. This approach has been to fracture the narrative imagery.  This is a simple and direct method. It reduces the forms of representation. The artwork presents less of the original information via the mark making or layering of paper. By blocking out parts of the image the surrounding images are subject to a shift in reflection and observation.  In the “Horse’s Mouth” the architectural depth is flattened and abstracted. Negating the narrative structure creates a disjointed experience, where the eye tries to find a place to concentrate, however, the eye quickly moves in a new direction. This reflection can lead to articulating how information can be questioned to support a worldview of depth, rather than picking out what we desire most and moving on.