The series “Mutable Garden” explores hybrids of plant, animal, and human-derived imagery using photos and mixed media on both sides of vellum tracing paper, exploiting the see-through aspect. Other mixed-media works mine similar territory, the individual parts reassembled into a more fantastical form. Drawings may come before a related painting, or a painting may become a study for a drawing.
The “Books” series is intermittent, again reflecting my attraction to found materials, as well as thoughts about the book as record. It has become an on-and-off journal of time in the studio—the fired clay dates back to classes at a Philadelphia clay studio, some of the found wood dates from early NYC days scrounging around the Lower East Side. The titles play with my affection for years of paperbacks I cannot part with.
My collaborative collage series, “The Corpses,” ongoing since 2005 with a poet I met at the Millay Colony, pursues a convergence of text, drawing and painting, and found objects. Working in tandem with pre-existing images and found objects transforms the world into material, creating a continual call-and-response between that world and what happens in the studio. Always in view—no matter the media—is that click of significance: Richard Dreyfuss shaping mashed potatoes in Close Encounters, insisting, “This means something.”