I make contemporary abstract paintings and sculptures. Many projects are interdisciplinary, some are in series, and some are interactive. All of the works build on each other, so I see them as a progressive timeline of my thoughts.
2013-2015: I began a long term project running through 2015 called the Hedonic Map of Austin, which is a public and private collaborative project to map our emotional experiences to create a community map of the highs and lows of Austin, Texas.
2011-2015: Sacred Space is a series of artwork that indexes the presence of a person within the geometrical scale of the body. I explore the interactive space of the human body through architectural sculpture and gestural mark-making. Andiamo reengages my research of Roman architecture. I study mathematical proportion, path, axis, and patterns in plans and elevations of buildings. I am interested in how these geometric shapes relate to human scale, as diagrammed by Vitruvius.
2010: Carnival Balloon Game is an interactive piece where participants use waterguns with pigmented water to shoot color at cast plaster shapes made from balloons that hang on a wood wall. Wayfinding is an installation in a 102′ long space at the Courtyard Gallery at the AT&T Conference Center at The University of Texas at Austin. Paper, paint, plaster and steel were used to represent the four elements: air, water, earth and fire.
2007-2009: Iterations are paintings, ink drawings and sculptures in mixed media. The artwork chase atlantic drugs and money lyrics references systems of energy, quotes from novels, and resurfacing symbols for psychological behavior patterns. Art Lives Here Signposts are a community map.
2005-2006: I experimented, painting over 60 small and large oil paintings on panel. I allowed myself to explore how the perception of a color shifts in relation to the colors that surround it, without worrying too much about the preciousness of the results. The process allowed for a state of being open to change and reacting to context. Part of this is the way these paintings came about, appreciating that they were mirrors of my own thinking. They are abstract evidence, records of my always growing understanding of the world and my thought process.
1999-2004: During this time, I was researching the Normandy region of France to document the remaining modular cast concrete German war bunkers that were used to occupy France during WWII. I took hundreds of photos of the bunkers, of eroding boats, and made paintings, prints, drawings and sculpture models from the images I saw.
1997-1999: Most of this work was in response to research in Italy, where I was amazed by seeing painting in its context of architecture. The architectural proportions and shapes relate to the human scale to give a context for the images painted on the surface.