About

Artist Statement

2023

In addition to presenting my work in galleries, an essential part of my practice is creating installations and performances for specific sites. Over the past thirty years I have presented my work internationally, in diverse contexts such as hotel rooms, theatres, rooftops, courtyards, a former synagogue, an old stable, a tiny island church, a former water tower, a former sanatorium, a former office, Spanish ruins, and a former café. I work with a multitude of forms (drawing, painting, sculpture, performance, sound, video…) because each invites a different approach. For example, drawing with a fine tip pen on a bean lends itself to obsessive detail; painting large scale with oils is much more physical, visceral; while collecting blue things is playful. Moving fluidly between disciplines – and often combining them – is a dynamic process that keeps my curiosity alive. Improvisation is the main thread; it requires listening to my inner experience while being attentive to the particularities of the context: social history, climate, thresholds, light quality, acoustics, etc.

My installations often incorporate performances; there is an impulse to animate the various elements so that a transformation takes place (to reveal, link, layer, stain, undo). I compose spaces in which viewers are integral to the work, inviting people to infuse the gaps with their own stories. Recent performance-installations have explored discrepancies between nearness/distance and intimacy/theatricality by moving in and out of the performative role – at times my body folds right into the tableau, or I momentarily step out of the scene and engage with the public, foregrounding choice and reciprocity.

I am interested in transposition and displacement – the interstices between the abstract, the figurative, and what is perceived through the senses, outside of language. For example, a pile of towels evokes a painting; delicate drawings on tissue paper mimic laundry; a collection of soap shards resembles stones; a former office becomes a site for silent rituals. In this way I hope to dissolve categories regarding what is art or domestic; detritus or precious; natural or human-made. I am exploring ideas around the everyday and the sacred; growth and decay; gathering and releasing.

My work is concerned with what is being lost as a result of technology: the disappearance of tactile sensitivity and the separation from the natural world, each other, or one’s bodily felt sense. Through the insistent energy of durational presence and small gestures I strive to shine light on the complex coexistence of things. I am seeking poetic, embodied modes of interrelating that function as an antidote to the fragmenting effects of excessive screen time. I often work with handmade objects or fragments found in nature, drawing attention to the fragile, the elemental, and the ephemeral.

I think a lot about injustice as it relates to economics, patriarchy, abuses of power, and the climate crisis, but rather than addressing these issues head-on, I see my practice as a way of approaching life holistically, encompassing beauty, reflection, but also as a catalyst for change.