When I explore the intricate, varied, and precious patterns in our world, from the molecular to the planetary, I feel more connected to life. I am inspired by the seasons, cycles, fertility, and by the life energies and magic that we have infinite access into which we can tap. Symbolism functions in my work to delineate ideas about identity, growth, and change, and the imagery I make varies from the monumental to the miniscule. I attribute great power and meaning to objects and color–and my mediums travel through painting, drawing, printing and collage, to now incorporate sculpture. I am a multi-media artist creating works that foster dialogues about human and non-human relationships within the natural world. It all functions together as a garden, grown to speak about the fragility and incredible power of nature, and of the human perception, heart, and psyche. My sculptural work titled: Fertile Ground draws its inspiration from Ecology, Archaeology, and from patterns found in nature. The works aim, as opposed to mimicry, is to flirt with nature–to associate with it and to answer back in relationship with it. The works begin with my association to forms and patterns—then they are put through aesthetic and artistic filters that include filters of memory, psychological mood, sexual energy, sensation, and reaction. The work invites the viewer to engage with it in that same way by making associations relative to the connection between their own subconscious and perception. My work in progress, that is a continuation of Fertile Ground is influenced by niche constructions, rock conglomerates, stalactite and stalagmites as well as the physical patterns of cave formations — some are branch-like, or like a sponge–while others are a system of angular loops, or braided streams. This work as well as my site specific work derives from nomadic practices in art, the alterability of nature and materials, and ways in which truth can be magnified or disturbed within the lens of human experience. I am interested in the wonder, poetry, and connection of the cycles and the regenerative creation found in nature–and in nomadic practices that in my process mirror the non -linear path of the patterns of biological diversity in nature–like Deluze’s rhizome theory, the roots spread out and are in a constant state of flux. Nomadic practices provide me with an abundant amount of freedom since I do not adhere to one location, material, or time–but also nomadic practices do not discount my studio practice as art as process or an idea preceding material choices also constitutes a nomadic way of thinking and creating. I am inspired by the Ecological processes of Niche Constructions; or the undertakings of living organisms from the molecular to the planetary to actually alter the materials of the physical environment for survival or for sacred ceremony. Often these structures and patterns created in nature as a result are striking and wondrous to behold, like the mounds of termites, the stalactites and stalagmites found in ancient caves, and the castle-like root systems of Florida’s Cypress trees. These processes and patterns, when carefully paid attention to have the power to bring a person closer to understanding the cycles of our own lives and departures. So I pay close attention to ecological principles of Complexity, and to the physicality of Ecology: water, soil, light, heat, gravity, wind, and fire–and then combine art, aesthetics, Ecology, and culture to engage myself and the viewer in questions about life issues.
My paintings and photographic works explore the essentiality of desire, where the body, in fluctuating states of becoming, is projected into visual mindscapes that are dualistic in nature. Mythological and psychological themes of Thanatos, Eros paradox, and the nature of desire both erotically and philosophically as well as Symbols and dreams function in the work to denote universal themes relating to natural cycles and states of being—a s well as relating to archetypes, dreams, and the collective unconscious where much unfolds that cannot be seen–only intuited. The poetess Sappho was the first to call desire the “sweet-bitter” and the ancient Greeks believed that reaching out for desire and knowledge were analogous in a space that became an erotic adventure. Both my paintings and my action of painting explore these traverses in life. I experience time spatially. I use symbolism to exemplify the spaces in between where Eros is said to reside; or contrary, I make mashup works using disparate imagery combining ideas of the life and death drive within a single piece. Within the photographic work, animal skin patterning and splotchy punctuations on erotically posed bodies transforms figures into hybridized transcendent fantasy creatures that become the containers of meaning for fetishized symbols within the conceptual landscape—therefore like in my paintings, explosive devices are disguised in flowers for the lover, masks conceal and or reveal identity and intention, —within the paradox, the bodies relate to one another through gesture, morphing back and forth, together becoming the vulnerable and active receptacles for Eros. Simultaneously, Thanatos, or the counter-balance drive to Eros and considered the “death drive” which seeks to return the organic state of being back to the inorganic or inanimate state of being is active as a suggestion of the psychic currents running below the surface of life.
I strive through the poetic investigation of systems in nature to gain some primordial knowledge, to understand a feeling of a biospheric equality beyond human chauvinism– and to pass on works that exude a sense of connectedness in the chaotic flux of life. I like the idea that all that is visible expresses what is invisible. And, similarly, all that is material stresses its immateriality. Through its materials the work becomes and aims to exude the tension of something other and to embody a sense of the uncanny; and to elicit the feeling, not only of flux but of preciousness. Within this I ask the viewer to consider their own position within that intricate balance and to consider that the slightest change affects the whole. I embrace a ritualistic, poetic, and narrative attitude in my acts of making. I carefully consider the principles of complexity as I investigate the physicality of a myriad of materials to make work that aims to express and create an ethereal experience about beauty, and in order to create emotional and psychological landscapes comprised of personal mythologies that speak about life cycles.