Pile-Strata & Mindscape  ( Process: Ebbs and Tides)

2010 to present

My latest work, ‘Mindscape & Pile-Strata’ is an evolving process- based set of wall installations. These expressive installations are part of a continuous and ongoing project called ‘Calendar / Marking Time’ that I have been working on since my pregnancy in 1993.  Thematically, it was from this event that I came to the realization that the passage of time for women is unique to their own personal cycles that are in keeping with, yet independent from other formalized or global structures of defining the ebb and flow of life.

In this latest iteration of this installation series, the images are a result of some of the more fortuitous inspirations which essentially comprise a serialized succession of visual presentations of the defining moments or waypoints over a period of time.  Basically, it consists of numerous multi-compositions of mixed-media panels or sculpted modules.

Each individual panel or section is a product of both random and carefully composed drawn and sculpted elements. This process produces fresh forms of controlled spontaneity that mirror the interplay between the metamorphic nature of mindscapes, and the strata of our rooted conscious/unconscious.

Technically, the imagery depends upon a few simple factors: the ratio of resin, dry pigments, the paint thinner, and the fluid gesture of the hand.  As I apply pigment-infused resin in deliberate controlled strokes to the wooden panels solely with a putty knife – the hidden shapes emerge, evoking the misty landscapes of dreams, the immediacy of Chinese Calligraphy, or the swell and tides of the oceans rhythms.

Most significant and symbolic is the uncontrollable element of time. There are evidences everywhere, in the length of time the resin is exposed in the mixing jar, to the interaction with the dry wooden surfaces, and the application itself, which all notably affect how the image will ultimately materialize.

In the process, I examine the act of painting and respond to the slowly evolving revelations presented by the materiality of the paint itself. Additionally, I explore and compound upon the boundaries of binary pairs, such as abstraction /representation, intention/intuition, painting/non-painting and form/emptiness.

 

Interplay, Moment by Moment, Philosopher’s Table,  Calendar/Marking Time, and  For My Son : 1993 to 2010

Ancestor worship is to be regarded as the first source and the origin of religion.”

– Herbert Spencer

My artworks allow me to spiritually and conceptually forge a link between my ancestors, my descendants, and myself.  The artworks exist as physical entities that allow them to be utilized as symbolic and spiritual meeting places for the many generations of my family.  In essence, they are sanctuaries or conduits for the forces that have defined and will continue to define our family.  Change and reflection in my life becomes manifest in my art as a distinctly personal expression.

Within the works, I attempt to embody specific temporal concepts such as: yesterday, today, and tomorrow, in a repetitive or serialized fashion, and how symbolically, these ritualistic expressions, in turn, exemplify the corresponding points of intersection in all of our lives. Further, I attempt to produce certain pathways of seeing and being, place outside of everyday experience, that expresses the dualistic aspects of ceremony, mysticism, and game.  I explore these issues by creating tableau, monuments, and altar-settings exhibiting variations and combinations or permutations of scale, which ultimately communicate the uniqueness and transitory nature of relationships.

It is my hope to engage the viewer into associative and contemplative states; and in due course, to experience their own sense of temporal being within nature.

 

Synchronicity, Hidden Law of Nature and Prime Matter :   1988 to 1993

My work evokes contemplation of the inter-relations between nature and science, and manifests itself in the form of sculptural installations that is thought provoking and mysterious.  The spatial environments create a balance of dichotomies as the principle laws of nature, containing references to the tangible and intangible.  The inference of specific information; including, theories of probability, modern physics and spiritual symbolism, engages the viewer in a quest through the artistic process……..

…..As a whole, I regard my work to be a personal microcosm of the natural world.  The physical quality of my work, which separates spatial areas into distinct settings, provides structure to both the temporal and psychological divisions within.  I explore representational issues by creating symbolic dichotomies, delicate equilibriums and ephemeral conditions to express the interconnections between nature, art and science.  It is my intention to engage the viewer on many levels, allowing for the free association, contemplation and ultimately to perceive and experience a sense of synthesis within nature.

 

Place, ceremony and a play :1979 to  1988

My intentions are for my work to be a vehicle to transport beholders to experience a new world which has not been uncovered.

The direction of my art manifests itself through relations between the intrinsic meanings of game and rite.  My role as an artist parallels the function of the shaman. The function of the artist-shaman in today’s society is to perform cleansing rites that are of a spiritual nature.  During the artist’s process of creation, or during the ritual performance of the shaman : the intention of these equal personalities is to employ the spiritual and intuitive feelings within the perceivers.

My works are connected with ceremonies rooted in personal religious views, a very individual celebration of the ceremony of life and death.  Much of the inspiration for my work comes from ritualistic Oriental ceremonies.  My concerns stem from the entire ceremonial experience.  What draws my imagination to these events is the intense emotional experience, the symbolic positioning, the mathematical progressions and the significance of the liberation of the spirit to another world.  Roles, feelings, games, colors, religious choices, altar settings, narration, and historical influences affect the time-space process of my intentions. I am interested in expressing the purity, solitude, and detachment of the shaman by my symbolic use of white.  My work evolves and becomes charged with obscure, enigmatic rhythms symbolizing the joy, sorrows, and nature of artist-shaman.

My work should always be viewed as in a transition from an object to a system of process’.  The reasoning behind this is based on the ceremonial relations between people and the components of the environment.  My own ideas are that   the ritual process(creation of rite/game) is my single most important creative function  which endeavors to clarify and expand upon the ideology of the “ceremony of life and death”.