Wind Drawings

My explorations with wind utilize charcoal powder on Arches paper. The paper is stamped with medium and charcoal powder and the wind carries and marks the powder on the paper. Each drawing is marked with speed and direction.

Wind Drawing, 2021
Wind Drawing, 2021

KUNST HAUS WIEN, Wenn der Wind weht, 2022, exhibition view. Photo: Rudolf Strobl, Bildrecht, 2022.

Print on fabric, 52x66”, variation of Wind Drawing #9 from 2018.

Wind Drawing, 2021
Wind Drawing, 2021

KUNST HAUS WIEN, Wenn der Wind weht, 2022, exhibition view. Photo: Rudolf Strobl, Bildrecht, 2022.

Print on fabric, 52x66”, variation of Wind Drawing #9 from 2018.

Wind Drawing, Beacon, NY #9.
Wind Drawing, Beacon, NY #9.

Charcoal powder, wind, Arches paper. 2018. 22x30”
Wind Drawing, Beacon, NY #10
Wind Drawing, Beacon, NY #10

Charcoal powder, wind, Arches paper, 2018. 22x30”
Wind Drawing, Beacon, NY #11
Wind Drawing, Beacon, NY #11

Charcoal powder, wind, Arches paper, 2018. 22x30”
Wind Drawing, Beacon, NY #12
Wind Drawing, Beacon, NY #12

Charcoal powder, wind, Arches paper, 2018. 22x30”
Wind Drawing, Beacon, NY #13
Wind Drawing, Beacon, NY #13

Charcoal powder, wind, Arches paper, 2018. 22x30”
Wind Drawing, Beacon, NY #14
Wind Drawing, Beacon, NY #14

Charcoal powder, wind, Arches paper, 2018. 22x30”
Wind Drawing, Beacon, NY #15
Wind Drawing, Beacon, NY #15

Charcoal powder, wind, Arches paper, 2018. 22x30”
Beacon, NY Bus Shelter Project 2019
Beacon, NY Bus Shelter Project 2019

Carbon Portraits

When hiking, I came upon a fire pit on the mountain where I live where construction materials are burned regularly. Historically, iron as nails and the wood from trees have been used for shipbuilding and architecture, to hold things together. At the site I saw a story of things coming apart, rusty nails in a large pile, ash pieces stuck with nails released from their usefulness. The photographic portrait of each piece of carbon ash is taken in the sun. Charcoal powder, another form of carbon, acts upon the archival print with air.

Carbon Portrait #1
Carbon Portrait #1

Archival pigment print, charcoal powder. 2023.

8.5x11” paper. Canson Edition Etching Rag. Unique.
Carbon Portrait #2
Carbon Portrait #2

Archival pigment print, charcoal powder. 2023.

8.5x11” paper. Canson Edition Etching Rag. Unique.
Carbon Portrait #3
Carbon Portrait #3

Archival pigment print, charcoal powder. 2023.

8.5x11” paper. Canson Edition Etching Rag. Unique.
Carbon Portrait #4
Carbon Portrait #4

Archival pigment print, charcoal powder. 2023.

8.5x11” paper. Canson Edition Etching Rag. Unique.
Carbon Portrait #5
Carbon Portrait #5

Archival pigment print, charcoal powder. 2023.

8.5x11” paper. Canson Edition Etching Rag. Unique.
Carbon Portrait #6
Carbon Portrait #6

Archival pigment print, charcoal powder. 2023.

8.5x11” paper. Canson Edition Etching Rag. Unique.
Carbon Portrait #7
Carbon Portrait #7

Archival pigment print, charcoal powder. 2023.

8.5x11” paper. Canson Edition Etching Rag. Unique.
Carbon Portrait #8
Carbon Portrait #8

Archival pigment print, charcoal powder. 2023.

8.5x11” paper. Canson Edition Etching Rag. Unique.

Time Story No. 15

The Time Story Series developed from my practice of marking change/time with natural phenomena. My previous and continuing works with rain, sun, seawaves and wind are immediate experiences in location and time with their collaborative marks on paper (seen on my website). This body of work, including a video, sculpture 18x18”x5”, and photographs derived from it, layer associations of deep time and stone and the sun, wind, rain, morning dew, ice, snow, insects, all marking time on the sculpture. For this piece, (Time Story No. 15), I photographed the work during Fall and Winter 2022. Each photograph bridges the space between photography and drawing with its trompe l’oeil visual effect. In this work the grain of the top veneer of the plywood is the story of the tree’s growth; it is then whitewashed with white paint and the lines reinserted with graphite. The geographic coordinates of the place the stone was found and the time that the shadow was drawn is written at the bottom of the sculpture in graphite. The work and the materials used employ a perceptual shift from the overhead drone footage of witnessing the sculpture, the horizontal viewing of the outdoor sculpture on the ground, to the vertical viewing of a print on a wall. Each print is titled with the date and time that the image was taken with preceded by a dash (like the indication on a gravestone of life between birth and death), to indicate all the unwitnessed moments between those dates. The sculpture invites the elements to continue the drawing/photograph like an exquisite corpse, leaving a trail of vibrant presences.

Time Story Loop

Single Chanel Video. 45 seconds.

Drone footage: Jerry Goodman
Time Story No. 15 Sculpture
Time Story No. 15 Sculpture

Wood panel, paint, stone, nails, graphite. 18x18x5” 2022
—October 20, 10.41 am
—October 20, 10.41 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—October 26, 10:02 am
—October 26, 10:02 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—October 27, 8:53 am
—October 27, 8:53 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—October 30, 9:43 am
—October 30, 9:43 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—October 31, 11:17 am
—October 31, 11:17 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—November 11, 9:05 am
—November 11, 9:05 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—November 3, 9:33 am
—November 3, 9:33 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—November 5, 10:38 am
—November 5, 10:38 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—November 6, 11:06 am
—November 6, 11:06 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—November 7, 8:43 am
—November 7, 8:43 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—November 10, 8:23 am
—November 10, 8:23 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—November 12, 8:48 am
—November 12, 8:48 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—November 14, 12:39
—November 14, 12:39

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—November 15, 8:25 am
—November 15, 8:25 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—November 16, 8:28 am
—November 16, 8:28 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—November 17, 9:01 am
—November 17, 9:01 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—November 19, 8:31 am
—November 19, 8:31 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—November 26, 8:28 am
—November 26, 8:28 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—December 5, 8:32 am
—December 5, 8:32 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—December 9, 8:31 am
—December 9, 8:31 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—December 11, 2:49 am
—December 11, 2:49 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—December 14, 9:03 am
—December 14, 9:03 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—December 17, 8:59 am
—December 17, 8:59 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—December 20, 8:46 am
—December 20, 8:46 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—December 21, 8:40 am
—December 21, 8:40 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022
—December 25, 10:32 am
—December 25, 10:32 am

Archival pigment print on Canson Edition Etching paper.

20x20” image, 22x22” paper. 2022

Time Story

This body of work has developed from my practice of marking time with visual phenomena. My previous and continuing works with rain, sun, waves and wind are immediate experiences in location and time with their collaborative marks on paper. This work sets up possible stories: the scientific and imagined stories of deep time and stone and and the immediate, momentary story of seeing the sun mark time on the sculpture. As has been my practice, there are two parts to this work. A sculpture that is a lyrical sundial and a photograph which marks a moment in time with the sun’s shadow. The photograph bridges the space between photography and drawing with it's trompe l'oeil visual effect. Part of the time story is also the imagined topography of the drawing, the neural perception of depth and the cultural conditioning of this symbolism. In this work the grain of the top veneer of the plywood is the story of it's layering in time, and then whitewashed with white paint. The grain is reinserted with graphite. This abstraction creates new associations of possible depths and stories. The work and the materials used employ a perceptual shift from the overhead horizontal viewing of a map to the vertical viewing of a print on a wall.

Time Story #13 Sculpture
Time Story #13 Sculpture

Wood, paint, graphite, stone. 28x28x5”. 2022
Time Story #13, Sun Drawing, March 21, 9:21 am
Time Story #13, Sun Drawing, March 21, 9:21 am

Archival pigment print on Arches paper. 18x18” on 22x22” paper. 2022.

Time Story #4, Sun Drawing, August 14, 8:23 am
Time Story #4, Sun Drawing, August 14, 8:23 am

Archival pigment print on Arches paper. 8x8” on 11x11” paper. 2021.

Time Story #5, Sun Drawing, August 14, 8:24 am
Time Story #5, Sun Drawing, August 14, 8:24 am

Archival pigment print on Arches paper. 8x8" on 11x11" paper. 2021.

Time Story #6, Sun Drawing, August 14, 8:25 am
Time Story #6, Sun Drawing, August 14, 8:25 am

Archival pigment print on Arches paper. 8x8" on 11x11" paper. 2021.

Time Story #7, Sun Drawing, August 14, 8:26
Time Story #7, Sun Drawing, August 14, 8:26

Archival pigment print on Arches paper. 8x8" on 11x11" paper. 2021.

Time Story #8, Sun Drawing, August 14, 8:27 am
Time Story #8, Sun Drawing, August 14, 8:27 am

Archival pigment print on Arches paper. 8x8" on 11x11" paper. 2021.

Time Story #9, Sun Drawing, August 14, 8:28 am
Time Story #9, Sun Drawing, August 14, 8:28 am

Archival pigment print on Arches paper. 8x8" on 11x11" paper. 2021.

Time Story #10, Sun Drawing, August 14, 8:29 am
Time Story #10, Sun Drawing, August 14, 8:29 am

Archival pigment print on Arches paper. 8x8" on 11x11" paper. 2021.

Time Story #11, Sun Drawing, August 14, 8:30 am
Time Story #11, Sun Drawing, August 14, 8:30 am

Archival pigment print on Arches paper. 8x8" on 11x11" paper. 2021.

Wave Sending Project

Wave Sending Project is an ongoing series that is a collaboration between sea waves, the artist, USPS and the receiver of the sea wave. One wave crashes over a line of gouache on Arches watercolor paper, the time of that wave is indicated in graphite. Then sent through the post office it is in air again, sorted and delivered to the recipient who is asked to respond with the time and date of it’s reception and a photo (smart phone photo). The collaborative marks from the postal service show traces of handling and transit. This project started during the 2020 pandemic as a way of connecting safely and supporting the USPS which continues to be in peril.

Sending Wave
Sending Wave
Group of waves.
Group of waves.

57 waves made at Amagansett Beach in July 2020 and sent as postcards thru Amagansett post office..
Photo from wave recipient.
Photo from wave recipient.

Card photographed from recipient with unique orange marks from post office. (photo by Traci Paris)
Photo from wave recipient.
Photo from wave recipient.

Card photographed from recipient with marks from post office made on front of card. (Photo by Mary Bergs)
Photo from wave recipient
Photo from wave recipient

Wave in recipient’s mailbox. (Photo by Gail Wauford)

Wave Drawings

One wave crashes over a piece of paper marked with blue gouache. I record the time of the wave. On multiple beaches in New York, I map my experience of the force of the water and its location. While each wave marks its particular existence through its contact with the materials, the series as a whole conveys the eternal breath of the tide.

Wave Drawing, Fort Tilden Beach, NY #1
Wave Drawing, Fort Tilden Beach, NY #1

Gouache, Atlantic Seawater, Arches paper, 2017. 7x7”
Wave Drawing, Fort Tilden Beach, NY #2
Wave Drawing, Fort Tilden Beach, NY #2

Gouache, Atlantic Seawater, Arches paper, 2017. 7x7”
Wave Drawing, Fort Tilden Beach, NY #3
Wave Drawing, Fort Tilden Beach, NY #3

Gouache, Atlantic Seawater, Arches paper, 2017. 7x7”
Wave Drawing, Fort Tilden Beach, NY #4
Wave Drawing, Fort Tilden Beach, NY #4

Gouache, Atlantic Seawater, Arches paper, 2017. 7x7”
Wave Drawing, Fort Tilden Beach, NY #5
Wave Drawing, Fort Tilden Beach, NY #5

Gouache, Atlantic Seawater, Arches paper, 2017. 7x7”
Wave Drawing, Fort Tilden Beach, NY #6
Wave Drawing, Fort Tilden Beach, NY #6

Gouache, Atlantic Seawater, Arches paper, 2017. 7x7”
Wave Drawing, Fort Tilden Beach, NY #7
Wave Drawing, Fort Tilden Beach, NY #7

Gouache, Atlantic Seawater, Arches paper, 2017. 7x7”
Wave Drawing, Fort Tilden Beach, NY #8
Wave Drawing, Fort Tilden Beach, NY #8

Gouache, Atlantic Seawater, Arches paper, 2017. 7x7”
Wave Drawing, Fort Tilden Beach, NY #9
Wave Drawing, Fort Tilden Beach, NY #9

Gouache, Atlantic Seawater, Arches paper, 2017. 7x7”
Installation View
Installation View

Matteawan Gallery Solo Show “Only Mark the Bright Hours”, 2017, Beacon, NY.

Rain Drawings

For these rain drawings I coat impermeable Yupo paper with gouache and expose it to the rain. When the water evaporates, the gouache reveals traces of the rain’s impact. The completed drawing is a record of an action and a place and time, yet the material (rain) that created it is absent.

Rain Drawing, November 13, 8:30 am
Rain Drawing, November 13, 8:30 am

Gouache, rain, Yupo paper, 2019. 15x50”
Rain Drawing, December 28, 10:09 am
Rain Drawing, December 28, 10:09 am

Gouache, rain, Yupo paper, 2019. 15x50”
Rain Drawing, December 28, 10:31 am
Rain Drawing, December 28, 10:31 am

Gouache, rain, Yupo paper, 2019. 15x50”
Rain Drawing, November 6, 1:04 pm
Rain Drawing, November 6, 1:04 pm

Gouache, rain, Yupo paper, 2018. 30x50”
Rain Drawing, June 24, 3:30 pm
Rain Drawing, June 24, 3:30 pm

Gouache, rain, Yupo paper, 2018. 7x7”
Rain Drawing, June 24, 2:40 pm
Rain Drawing, June 24, 2:40 pm

Gouache, rain, Yupo paper, 2018. 7x7”
Rain Drawing, May 16, 3:53 pm
Rain Drawing, May 16, 3:53 pm

Gouache, rain, Yupo paper, 2018. 7x7”

Passport Thread Books

The Passport Drawings came from a moleskine sketchbook practice of thread drawing at art residencies. They were a pathway to clearing the mind by creating a two-sided drawing with thread. During the pandemic of 2020, I added ink to the drawings. As I sheltered in place with this passport, I created a “permission to go somewhere” even if it was just in the mind. The concept for the passport books developed during this time. I created passport-sized books with geographic coordinates of receiver on cover and on title page in order to travel to them through drawing. These books are/were gifted to collectors and friends. As a book of abstract drawings they can be read nonlinearly. Each is handbound and uses archival papers. 36 pages. They will be available for commission in the future.

Passport Book #3

Two-sided thread and ink drawings in passport-size book. Geographic coordinates of collector on cover and title page. Handbound.
Cover and Slipcase of Passport Book #3.
Cover and Slipcase of Passport Book #3.

Thread/Marking Time Drawings

I have been recording the sun’s shadow in relation to pieces of thread, as photographs and as video experiments during the months of January, February and March (from Winter Solstice to Spring Equinox). From this latitude/vantage point, I wait for the sun to draw delicate shadow lines in collaboration with my random placement of thread. Each piece depicts one moment in time, when the sinking winter sun creates long shadows; both thread and sun are the charcoal, ink, and pencil.

41°N30'22 -73°W57"54 3:13 PM
41°N30'22 -73°W57"54 3:13 PM

#9, Archival Pigment Print, 2013. Edition of 1. 11x11”
41°N30"22 -73°W57"54 3:54 PM
41°N30"22 -73°W57"54 3:54 PM

Archival Pigment Print, 2013. Edition of 1. 11x11”
41°N30"22 -73°57'54 3:13 PM
41°N30"22 -73°57'54 3:13 PM

#7 Archival Pigment Print, 2013. Edition of 1. 11x11”
41°N30'22 -73°W57'54 3:10 PM
41°N30'22 -73°W57'54 3:10 PM

Archival Pigment Print, 2014. Edition of 1. 11x11”
41°N30'22 -73°W57'54 3:13 PM
41°N30'22 -73°W57'54 3:13 PM

#8, Archival Pigment Print, 2013. Edition of 1. 11x11”
41°N30'22 -73°W57'54 3:13 PM
41°N30'22 -73°W57'54 3:13 PM

#6, Archival Pigment Print, 2013. Edition of 1. 11x11”
41°N30'22 -73°W57'54 3:13 PM
41°N30'22 -73°W57'54 3:13 PM

#10, Archival Pigment Print, 2013. Edition of 1. 11x11”

Thread/Marking Time Video

44º14'8"N 1º46"12"E #1 (30 days to undo this knot)
44º14'8"N 1º46'12" #2 (30 days to undo this knot)

Blue Wave Paintings

The Blue Wave Paintings are a synthesis/connection of my observations while making drawings with nature. I have developed a deeper understanding of the underlying energy of natural phenomena and the fabric of matter. The high frequency, deep matte blue color recedes like space, and the white thread moves forward. This body of works creates a symbiotic dialogue with the wind, wave and rain drawings.

Wave Series #8
Wave Series #8

Flashe paint, white thread, wood panel. 2018. 10x10”
Wave Series #9
Wave Series #9

Flashe paint, white thread, wood panel. 2018. 10x10”
Wave Series #10
Wave Series #10

Flashe paint, white thread, wood panel. 2018. 10x10”
Wave Series #11
Wave Series #11

Flashe paint, white thread, wood panel. 2018. 10x10”
Wave Series #12
Wave Series #12

Flashe paint, white thread, wood panel. 2018. 10x10”
Wave Series #5
Wave Series #5

Flashe paint, white thread, wood panel. 2018. 10x10”
Wave #6
Wave #6

Flashe paint, white thread, wood panel. 2018. 10x10”
Wave Series #7
Wave Series #7

Flashe paint, white thread, wood panel. 2018. 10x10”

Only Mark the Bright Hours Sculpture

I have created sculptures (wood panel, paint, graphite, nails) that loosely reference early sundials. The gnomon, or pointer, is usually set at the angle of one’s geographic latitude to determine a correct reading. I have used everyday nails as gnomons, and have set them at the angle of the latitude in my studio in Beacon, New York. But instead of one pointer facing true north, I have set multiple pointers in different directions in one body of work, or, in more recent work, I have created gps graphite drawings from visiting exhibits (particularly Agnes Martin, Sol LeWitt, Fred Sandback, and On Kawara) at DIA Beacon, the nails marking the beginning and ending of each walk. I have also created a kind of sundial with thread and graphite on wood panel. The straight graphite lines contrast with loose linear thread lines. Hard and/or soft shadow lines create a constant energy and reminder of incremental changes in our visual landscape based on sunlight.

Only Mark the Bright Hours #1
Only Mark the Bright Hours #1

Thread, graphite, paint, wood panel, 2017. 18x18”
Only Mark the Bright Hours #2
Only Mark the Bright Hours #2

Thread, graphite, paint, wood panel, 2017. 18x18”
June 25, 2015 (Robert Irwin/On Kawara)
June 25, 2015 (Robert Irwin/On Kawara)

Nails, graphite, wood panel, paint, 2017. 12x12”
May 23, 2016 (Robert Irwin/On Kawara)
May 23, 2016 (Robert Irwin/On Kawara)

Nails, graphite, wood panel, paint, 2017. 12x12”
January 19, 2015 (Agnes Martin/On Kawara)
January 19, 2015 (Agnes Martin/On Kawara)

Wood panel, Flashe paint, graphite, nails, 2015. 12x12”
January 19, 2015 (Angnes Martin/On Kawara)
January 19, 2015 (Angnes Martin/On Kawara)

Wood panel, Flashe paint, graphite, nails, 2015. 12x12”
Only the Sun Can Prove That I am Useful #3
Only the Sun Can Prove That I am Useful #3

Wood panel, Flashe paint, nails, graphite, 2014. 12x12”
Only the Sun Can Prove that I am Useful #4
Only the Sun Can Prove that I am Useful #4

Wood panel, Flashe paint, nails, graphite, 2014. 12x12”

Only Mark the Bright Hours Drawings

I place the sculptures into the west-facing sun and record the shadows as photographs. Each image is marked with the date and time of the capture in graphite. As a drawing, conceptually, each image is an edition of one.

April 28, 5:15 PM
April 28, 5:15 PM

Archival Pigment Print on Arches paper, edition of 1, 2015. 10.5x10.5”.
October 17, 4:28 PM
October 17, 4:28 PM

Archival Pigment Print on Arches paper, edition of 1, 2014. 10x10”
June 7, 4:33 PM
June 7, 4:33 PM

Archival Pigment Print on Arches paper, edition of 1, 2016. 10x10”
April 28, 5:06 PM
April 28, 5:06 PM

Archival Pigment Print on Arches paper, edition of 1, 2016. 10x10”
April 28, 5:15 PM
April 28, 5:15 PM

Archival Pigment Print on Arches paper, edition of 1, 10.5x10.5”. 2015.
July 25, 6:03 PM
July 25, 6:03 PM

Archival Pigment Print on Arches paper, edition of 1, 2014. 10.5x10.5”
August 24, 5:44 PM
August 24, 5:44 PM

Archival Pigment Print on Arches paper, edition of 1, 2014. 10.5x10.5”
November 4, 3:41 PM
November 4, 3:41 PM

Archival Pigment Print on Arches paper, edition of 1, 2014. 19x19”

Thread/Marking Time Residency

Photographic details of my site-specific art installation at DRAWinternational Art Residency in Caylus, France, during October 2013. My studio was situated in a 12th century medieval building, once a school for boys in the 1920s. The daily view from my studio was hazy, over medieval tiled rooftops. Time seemed to expand and contract. The expressive walls were made of the original plaster with marks made by students, workers and former inhabitants of the property. My thread drawings on vellum were a collaboration with these walls and their evocation of time and mark making.

Detail #1
Detail #1
Detail #2
Detail #2
Detail #3
Detail #3
Detail #4
Detail #4
Detail #5
Detail #5
Detail #6
Detail #6
Detail #7
Detail #7
Detail #8
Detail #8

Re Collection

Re Collection 2
Re Collection 2

Archival Pigment Print, Copyright 2011, Edition of 10, 24x30”
Re Collection 1
Re Collection 1

Archival Pigment Print, Copyright 2011, Edition of 10, 24x30”
Re Collection 3
Re Collection 3

Archival Pigment Print, Copyright 2011, Edition of 10, 24x30”
Re Collection 4
Re Collection 4

Archival Pigment Print, Copyright 2011, Edition of 10, 24x30”
Re Collection 5
Re Collection 5

Archival Pigment Print, Copyright 2011, Edition of 10, 24x30”
Re Collection 6
Re Collection 6

Archival Pigment Print, Copyright 2011, Edition of 10, 24x30”
Re Collection 7
Re Collection 7

Archival Pigment Print, Copyright 2011, Edition of 10, 24x30”
Re Collection 9
Re Collection 9

Archival Pigment Print, Copyright 2011, Edition of 10, 24x30”
Re Collection 10
Re Collection 10

Archival Pigment Print, Copyright 2011, Edition of 10, 24x30”

Early Work

Salt Trail, Installation View, 1999
Salt Trail, Installation View, 1999

"Salt Trail", an installation in a group show called "The Land, An Art Site", in Mountaineer, New Mexico. I created a 3' wide by 20' sea salt trail for participants to walk on with bare feet. There was a photo of an endless circle of salt back-lit by the sun, with text referencing the trail of tears.
Bikinis an Bombshells, Installation Detail, 1998
Bikinis an Bombshells, Installation Detail, 1998

In "Bombshells and Bikinis", shown in Albuquerque, NM, in 1998, I wore a bikini and combat boots and climbed the hills of White Sands National Monument in New Mexico, near White Sands Missile Range. After researching the history of women's body images used in war, I saw photographs of female pin-up paintings on the nose for bombshells. At the time that bombs were going off at Bikini Atoll, a French engineer was designing a two-piece bathing suit. He named it the Bikini.

Show Installations

Wind Drawing, 2021 at the Kunst Haus Vien, Vienna, Austria
Wind Drawing, 2021 at the Kunst Haus Vien, Vienna, Austria

KUNST HAUS WIEN, Wenn der Wind weht, 2022, exhibition view. Photo: Rudolf Strobl, Bildrecht, 2022.

Print on fabric, 52x66”, variation of Wind Drawing #9 from 2018.

Vibrant Traces, solo show, Garrison Art Center, Garrison, NY 2019
Vibrant Traces, solo show, Garrison Art Center, Garrison, NY 2019
Only Mark the Bright Hours, solo show, Matteawan Gallery, 2017
Only Mark the Bright Hours, solo show, Matteawan Gallery, 2017
Only Mark the Bright Hours, solo show, Matteawan Gallery, 2017
Only Mark the Bright Hours, solo show, Matteawan Gallery, 2017
Wave Drawings, Matteawan Gallery, solo show 2017
Wave Drawings, Matteawan Gallery, solo show 2017
Only the Sun Can Prove That I am Useful, Matteawan Gallery, solo show, 2014
Only the Sun Can Prove That I am Useful, Matteawan Gallery, solo show, 2014
Only the Sun Can Prove That I am Useful, Matteawan Gallery, solo show, 2014
Only the Sun Can Prove That I am Useful, Matteawan Gallery, solo show, 2014
Video Projection, School of Jellyfish, 2015
Video Projection, School of Jellyfish, 2015
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