I am very much a mixed-media artist, producing both two and three dimensional work incorporating a variety of materials and techniques. My paintings on paper and canvas are primarily abstract and always convey some sense of an expansive landscape. Bird imagery figures prominently in my sculptural pieces, which are made using old Boro fabrics from Japan and mud cloth from Africa, as well as other exotic textiles from around the world. My two dimensional paper pieces use a traditional Korean felting technique called Joomchi, which uses handmade mulberry paper, various dyes, a great deal of water, and physical agitation to fuse multiple layers of paper together.
About my Metal Sculptures:
I work with the vessel shape in the broadest sense of the term and think of the final object as more a repository than an empty container. It may be a resting place for an artifact from the past or a storage place for non-material constructs such as ideas, thoughts, memories and emotions. I construct them using wire, usually copper, and found metals and objects that are often rusted or show some evidence of age. More recent sculptures also incorporate concrete and graphite. Individual components are joined together using wire or solder, which is then given a chemical patina. They may also incorporate other materials, such as hardware cloth, hand made paper, fiber, and ceramic elements that I make myself. I often use acrylic glazes and chemical patinas on the metal and ceramic surfaces to achieve a sense of age and decay. If I use basketry techniques, they are usually limited to simple twining, plaiting, and random weaving. In constructing a vessel shape, I try to deconstruct it as well, so that it is readily apparent how the components came together. I like to achieve the look of something long buried that shows that natural forces have shaped the piece as much as the human hand: an ossuary found among Roman ruins or a reliquary salvaged from a medieval shipwreck, for example, that suggest ancient rituals and mysterious purposes.