Artist Statement

My current body of work explores desire and its constraints: the harsh meeting of what is longed for and what is permissible or possible within the confines of social or cultural expectation.

Selection of materials is a primary consideration across my interdisciplinary practice. I choose objects for their metaphoric or associative meanings, or for what these objects already call to mind for the viewer. For example, I use tumbleweed—an iconic plant of the American west—to suggest neglect, accidental accumulation, and the passage of time. Matchsticks suggest a continuum from latent potential to residue. Other materials, such as hair, feathers, fur and eggshells reference and conflate the human and animal bodies. I use these overlaps to address the use, utility and pleasures of the body, particularly in terms of gender.

A current series of large-scale collage works on paper pairs traditional drawing materials, such as charcoal and graphite, with the nontraditional materials found in my sculptural works. I am increasingly interested in the relationship between two- and three-dimensionality in these works, investigating strategies to make drawings that retain an objecthood or sculptural presence.

An ongoing, performative series titled Marie Antoinette in America imagines that Marie Antoinette has escaped the French Revolution and settled in the American west. Each work portrays the character’s absurd efforts to eke out a livelihood or survival given the resources afforded by her gender, class and skill set, and explores the limits of gendered experience and desire.

My collaborative work as The Bridge Club allows me to extend the ideas in my solo practice in dialogue with the ideas and practices of my three artist collaborators. The Bridge Club’s interdisciplinary installation, video, live performance and digital media works are site- and context-specific and investigate normative roles, conflicts and expectations.