I began as a mixed media artist experimenting with materials as diverse as glass, cement, wire, wood, fabricated metal, paint, found objects, bronze as well as fabric and handmade paper in my sculptures. I also enjoyed the unique challenge of incorporating metal, cord and “found” objects” in my acrylic and oil paintings. I was open to all manner of useable objects; the final choice was tied to the content of the work itself, so that the finished piece was a balance blend of content, form and meaning. Underlying this work was a love of texture, touch, and permanence, which has focused my current artwork to primarily bronze sculptures and textured paintings.
I bring my own definition of feminism to my work, striving to revalue women as creative subjects while critiquing aspects of patriarchy.
My works are visual studies of the following themes
The Invisible Ones: (1995). This series explores the idea that mothers and children are easily rendered invisible by their respective cultures. Whether this is a result of undue emphasis on personal worth, or a gender-based diminishment of women and children themselves, I believe that the loss of their visibility cannot help but reduce the soul and spirituality of the culture itself.
My Body/My Self: Here I address specific issues regarding the female body. Through an exploration of my own experience and psyche I consider our culture’s definition of physical beauty, the idealized body, and the objectification of the female human form. I investigate how, through aging, illness and injury, our bodies are irresistibly altered, passing beyond our abilities to manipulate them into an enduring, youthful perfection.
The Shell Collector’s Gift (1999) is a series within myBody-mySelf. This work addresses the commodification of an ideal beauty and societal expectation that women can achieve this perfection as a purchased good. This process of beauty attaining an economic value where little existed previously results in market values replacing other society values. It describes a modification of relationships, formally untainted by commerce, into commercial relationships in everyday use.
Figures: This series is an an exploration of bodies and form. It includes self portraits, portraits of other’s hidden personalities, and social comment.
Detritus: This classification embodies work that transcends previously established categories. I consider these works complete and autonomous fragments, although they might be considered shards of former established themes. They are as flotsam heaved onto shore by the larger body of creative inspiration — the birth of new themes and meanings.