Archive

Light Falls

2001

Robert Morgan wrote: “Lightfalls tickles the sensory and trans-sensory modalities of being in an existential sense; yet there is a language at work—highly inventive, involving, and perpetuating in its feel for the interior of meaning, not just the outward sensation.”

Highly Strung

1999

In this installation, I extended my materials and working processes to include light, video, and a performative component. I intended to create a space where viewers felt a sense of belonging rather than one of bearing witness.

Seams to Be Constructed

1996

Presence and absence were at the core of this work. I sewed three-dimensional “apparitions” into existence: stand-ins for well-to-do women from bygone times.

My (Yellow) Wallpaper

1994

Charlotte Perkins Gilman’s The Yellow Wallpaper inspired this installation. I built a freestanding room within a gallery. Over two months, with help from community members, an embellished yet stark environment became a space shaped by shared stories. The experience had kinship with both a quilting bee and a barn raising. Twenty years later, the story remained embedded in the conceptual and emotional fabric of my work.

All She Ever Wanted

1994

My wedding boot became the template for one of three outdoor sculptures. Welded armatures were covered with cement, then lace patterns were carved into a papier-mâché-like material mixed with an acrylic polymer to withstand the elements.

Ground Carpet #2

1991

Ground Carpet #2 built on the original Ground Carpet. Patterned cement rocks echoed the painted gravel beneath them, creating a sense of a playground. I painted both outdoor works with insecticide sprayers, adjusting the flow to achieve finer detail.

Ground Carpet

1990

Ground Carpet was a 450-foot-long painting created on 60 tons of gravel. Abstract organic forms drew inspiration from formal gardens and hieroglyphics. Color, pattern, and a sense of celebration prevailed.