Art

I'm a storyteller, so I use whatever form the story wants, sometimes many at a time. Trained in Oil painting, printmaking and installation sculpture (wood, steel, glass...) , as well as Technical and Dramatic theater, writing, dance, and costume building, I love delving into storytelling devices to give further and more unexpected avenues from which to look at the human experience.

New and Available Work

Pinning down the Dysmorphic Body is the futile yet obsessive habit of truth seeking and trust. 48" x 60" oil on canvas.
Google Search: "Young Handsome Boy Looking Down"

From a series of paintings "Without the Others": A series of paintings and drawings in which, using an innocuous Google Search, I come across pornographic images, often including people who appear to be very young.

I remove these people from the situation, which to me feels “in progress,” and set them free on the canvas. I use images in which I find beauty in spite of the ugliness of the situation as these young people are taken advantage of, their agency removed, their identities revealed, their sense of self forever changed.

From a series of paintings and drawings of myself in which I explore the fleshy quality of my suddenly aging body, and the realities that look back at all of us. Images curated for frank truth, these paintings are a mirror which show me 20 pounds of fat as armor against abuse, the athletic body breaking down, the once bright and tight face giving into gravity, the cancer scar and mismatched breasts. These are paintings which wonder who I ever thought I was or could be.

48" x 60" oil on canvas

A series of paintings made from photographs taken on my iPhone over the course of ten years.

These are large watercolor images of men who I shared space with on my travels as a global ski guide. Some of these men I had intimate relationships with, some I merely bunked with to save some money on the road.

None of the images were taken with permission, all were taken around 3 am. None of these people were abusive to me, in fact, I chose them carefully, as in my current iteration, I have strong boundaries. This act, taking the photograph, was a powerful act in itself. I took something from them without their permission when they were most vulnerable. I took a picture that proves they are susceptible to violation.

Making them into paintings was an act of taking that stolen, private memento, almost a trophy, and turning it into a carefully wrought loving act of reproduction, obsessive and careful in nature, essentially slowing down the moment of thievery and lingering over the thrilling and dangerous act of the theft itself.

4' x 7' watercolor on paper
This is Otto's Jacket, which was worn by Otto at his "trial."

This moment is the last moment in which he bowed as deeply as his clothing would allow as he begged for his life. Otto's father wore this coat to Otto's school when he spoke to the student body after Otto died.

Upon seeing the North Korean Beaches during and around the negotiations to bring Otto home, Trump remarked, "Look at those beaches, wouldn't it be great to build condos there?"

24" x 36" Watercolor on paper

Otto Frederick Warmbier (December 12, 1994 – June 19, 2017) was an American college student from Cincinnati, Ohio, who was arrested in North Korea in January 2016 for attempted theft, for which he was sentenced to 15 years' imprisonment. While incarcerated, he fell into a coma and never regained consciousness, dying in June 2017. (Source: Wikipedia)
8" x 10" 2 panels, Oil on canvas board. 2017, Collection of Richard Segal.

These two ladies went to the same cafe in Amsterdam every morning. They would start at separate tables on either side of the door, and as the morning wore on, they would turn toward each other and talk. After a couple of hours, their chairs would be nearly touching, blocking the entrance, and forcing patrons to walk around them in order to get into the tiny, old, dark, cool cafe innards.

I watched them every morning while I was sketching and eating Poffertjes, and began to wonder about their friendship, their lives, and how long they had been doing just this. To me they seem to exemplify a time when people connected slowly and deeply, their affection, friendship and animation compelled me to want to take them home with me.
9" x 20" oil on shellac on birch panel. 2017 In private collection.
This series was created by using Sumi-e ink and watercolor on a stack of Mulberry paper. The paper underneath the initial painting is much thinner, like tissue paper, creating a series of bleed-through transfers, which I then soak with wax and layer using wax and more watercolor washed mulberry paper.

14" x 19" Sumi-e ink and watercolor on mulberry paper. Collection of the Artist. 

14" x 19" Sumi-e ink and water color transfer on mulberry paper with wax. 
14" x 19" Sumi-e ink and watercolor on Mulberry paper. 

14" x 19" Sumi-e ink and watercolor transfer on mulberry paper. 

Painting

Warning: the content of the work below may be disturbing to some.

Oil on Shellac'd cardboard is the base medium for most of my more traditional works. I also work on canvas and linen, raw and hand prepared, as well as hand built mahogany paneling. Application materials are everything from horse's blood to venetian turpentine depending on what the project calls for.

Charcoal, pen and ink, ash, and amber shellac on mahogany. 2003, Destroyed in studio fire.

This large mural consisted of two 10' x 20' panels and three 4' x 8' panels. It was installed in three permutations during it's existence at Art Center College of Design in 2005. All pieces in this series were destroyed in the 2003 fire which burned my studio to the ground.
Charcoal, pen and ink and oil paint on shellac on Mahogany wood. 2003, destroyed.
10' x 10' india ink, ash, charcoal, sharpie, oil paint on shellac on mahogany. 2003, destroyed
charcoal, ink, oil paint on raw mahogany, 2003, destroyed
12' x 10' section. Pen and ink, shellac, dead bugs, grass, leaves, ash, charcoal, house paint, sharpie , oil paint on shellac and mahogany. 2003, destroyed.
Pen and ink, shellac, dead bugs, grass, leaves, ash, charcoal, house paint, sharpie , oil paint on shellac and mahogany. 2003, destroyed.
12' x 10' section. Pen and ink, shellac, dead bugs, grass, leaves, ash, charcoal, house paint, sharpie , oil paint on shellac and mahogany. 2003, destroyed.

(Apologies for dappled sunlight this was a reference photo the day before installation, and the fire happened the next day)
An ala prima experiment in class, background and intimacy. None of these women had modeled before or knew each other or anything about each other before posing for me for 3- 5 hours at a stretch. 47 paintings in this series were destroyed in our studio fire in 2003. 4' x 8' oil on shellac on cardboard on mahogany
7' x 9' oil on shellac on cardboard on mahogany
30' x 36' oil on shellac on cardboard on mahogany
4' x 8' oil on shellac on cardboard on mahogany. Private collection.
36" x 48" oil on shellac on cardboard on Mahogany. Collection of the artist.
4' x8' oil on shellac on cardboard. One of a series of 27 paintings of 27 different women in exactly the same pose, painted ala prima. None had previosly modled. During the course of all 27 patintings, every single woman who posed explained, over the course of our time together, naturally and un prompted by me, exactly what they loathed about their bodies and how they hoped that this process would help them to find something, anything to love about their physical being. This confrontational, not particularly flattering posture was the result of the first woman's frank confrontation of her self loathing. This series was destroyed in the fire of 2003.
36' x 40' oil on shellac on cardboard on Mahogany. In Private Collection.
16" x 20" oil on shellac on cardboard on mahogany
oil on shellac on cardboard
24" x 30" oil on cardboard

Sculpture and Installation

I enjoy playing with simple contradictions in sculpture, in immersive environments which may change the way we see ourselves once we experience a space in an unexpected way. I believe spaces hold the stories we never took the time to write down, they are there for the mining.

35' x various widths. Lead, Rebar. In permanent collection at Art Center, Pasadena. Installed in a birch grove in a clandestine middle of the night operation, the tree is almost invisible until you are right on top of it, even though it is made of metal.
35' x various widths. Lead, Rebar. In permanent collection at Art Center, Pasadena. Installed in a birch grove in a clandestine middle of the night operation, the tree is almost invisible until you are right on top of it, even though it is made of metal. As you walk around the tree, the welded rebar structure is exposed.
8' x 8' inflatable vinyl cube. 2003. This project was initially installed at a crossroads at the Art Center in Pasadena, CA, blocking a stairway, the entrance to the main gallery, the women's restroom, the entrance to the elevator, and the hallway leading to the outside. The cube moves easily on the polished concrete floor, and is labeled with instructions: PUSH. The cube could easily be maneuvered along a 20' section of hallway with about 2' on either side of it in order to clear the entrance to any of the spaces. We set up cameras and filmed the interaction of the public with this "obstacle". In reality, the obstacle was really more the idea of an obstacle, since it could be moved with one finger, like a balloon.

People had interesting reactions to the piece; because folks know they aren't "supposed to touch art" a lot of them snuck by the piece carefully, trying not to touch it. Many walked by angry that the thing was in their way, some people played with it pushing it all around the space, and then a security guard, on his own volition, came down and began to move it for people, clearing a path for them, removing the public's interaction with the piece.

After it's initial exhibition, PUSH was installed in the lower gallery, the only object in the space. I found it to be most effective when installed or reset right up against the door, blocking the entrance.
128' hand milled mahogany, rivets, house paint. Commissioned by the Bozeman Co-Op. 2005
128' hand milled mahogany, rivets, house paint. Commissioned by the Bozeman Co-Op. 2005
128' hand milled mahogany, rivets, house paint. Commissioned by the Bozeman Co-Op. 2005
Steel, sheet metal. . 5' x 3' aprox. 2001
Seven televisions buried in the ground. 2002. Like illuminated stepping stones, they display close up video images of parts of the face, and facial expression.
2001. The specific site: my body. The show: Small gallery at the Art Center, Pasadena. Large Print Photographs of tattooing, video of process of tattooing, detritus of tattooing, needle and napkins used during tattooing process.

The Wife/Mother project: installation view

The Wife/Mother project: installation view

The Wife/Mother project: Installation View

256' x 3/4" hand milled pine and rivets, this sculpture leaps 35' from the bridge of the Art Center Pasadena and cascades another 200+' anchored only by objects found in the area.
256' x 3/4" hand milled pine and rivets, this sculpture leaps 35' from the bridge of the Art Center Pasadena and cascades another 200+' anchored only by objects found in the area.
256' x 3/4" hand milled pine and rivets, this sculpture leaps 35' from the bridge of the Art Center Pasadena and cascades another 200+' anchored only by objects found in the area.

Abstract Work: Painting

8' x 10' blood, shellac, dirt, bugs, raw canvas. 2003, destroyed This painting was part of an exhibition called "Polarity", and the piece was conceived around the concept of seduction/repulsion. I wanted a surface that would pull the viewer in, that they would want to smell, touch and investigate closely because of the seductive nature of it's look and texture.

Upon realizing the piece was literally made of the blood of two pigs and a horse from a slaughterhouse, the repulsion side took care of itself. The interesting part of the process (aside from working with the material which was fascinating) was that most viewers would be seduced again once they overcame their initial squeamishness and come in close for further investigation.

2 Pigs and a Horse - Detail

10' x 10' Rosin tinted with oil paint, layered over raw canvas.
Seven large paintings, the chair from my studio and a writing piece installed at Art Center Pasadena for solo show in 2003.
Solo show at Art Center Pasadena 2003
10' x 10' photogravure on raw canvas with pencil, eraser shavings and shellac. 2003, destroyed. This is a photogravure in two pullings from a photograph of my grandmother , who was born in 1898, and her finishing school class.
Detail - 10' x 10' photogravure on raw canvas with pencil, eraser shavings and shellac. 2003, destroyed. This is a photogravure in two pullings from a photograph of my grandmother , who was born in 1898, and her finishing school class.
4' x 8' 2001 Found sheet metal, house paint on canvas