Exit Wounds

  • Bombardment
    Paper, pigment, magazines, advertisements and coupons delivered weekly, plastic drop cloth, tracing paper, thread, matte medium, oil paint, and wire
    69 X 192 in.
  • Detail
  • Detail
  • Reverse Side
  • Reverse Side
  • Detail
  • Skin Deep
    Cosmetic makeup applicators, Sand Beige makeup from daily use, needles, thread, tacks, and wire
    2014-present (ongoing)
    57 X 7 in. 
  • Detail
  • Fault Lines
    Oil on paper, pigment, magazine cut outs, screen, silicone, monofilment line, dust, debris, matte medium, staples, and wire
    69 X 65 in.
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  • Reconstruction
    Oil on paper, magazines, cardboard, plaster, and staples
    49 X 55 in.
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  • The line between reality and illusion is not fixed.  The sun goes down and for a few brief moments the magic hour blurs the edges, turning landscape into dreamscape.  Reality represented by sunlight and illusion by shadows is no longer true once the sun sets.  The shadows stand as good a chance of being reality as the lights. 
    In my work, I use any medium (video, collage, bricolage, painting, light, etc.) to explore people and objects that contain a confusion of light and dark within them.  Texture and layering, which go hand in hand, are ways of building light and dark.  Whether the texture is from dust, debris, or pigment, the important outcome is building a surface that catches light in a variety of ways.  Layering is a game of hide and seek.