y
pieces often purport to be something other than what they are. The viewer
is drawn in by familiar objects and materials and is then presented with
an unexpected result. Many of my works are intended to look manufactured,
or are, in fact, modified manufactured items. Towards this end I have appropriated
the look and feel of an industrial furnace, the style of 19th Century scientific
instruments, the modernist architecture of the Whitney Museum, and the modest
everyday character of matchboxes and carpenter's rulers. Overlaid on these
associations is an affinity for arcade machines and toys, playful references
that reinforce familiarity. My attempt is to establish a familiar, seamless
facade that subverts expectation.
I use everyday objects as tools to examine the nature of reality and the relationship between myself and the viewer. Small objects provide a focal point within larger pieces, where they give the work a personal, intimate scale. A ruler, mug, eye, or postcard becomes a known reference point, acting as a mediator between the deceptively simple and the magical.
The work is interactive at a basic level. It is meant to be explored,
examined over time, yet it remains elusive because the mechanisms by which
it works are hidden, teasingly inaccessible. By playing with expectations,
the viewer is manipulated into looking more deeply. Things are at once
more and less than they seem. More in that the work is not mass produced,
but carefully constructed, uniquely mine, operated by unseen mechanisms.
Less in that the implied transmutations remain so astonishingly unmiraculous.
I was born and raised in Buffalo, NY where I received my BA in Art History
in 1978 and my BFA in Sculpture in 1979, both from SUNY at Buffalo. In
1983, I received my MFA in Sculpture from Hunter College. From 1988-89,
I was an artist-in-residence at The ClockTower in New York City. In 1995
I was included in a show called "art AND technology" at the State University
of New York at Stony Brook's Staller Center. The spring of 1996, I was
included in "A
Labor of Love," an exhibition of artists who labor for perfection
in their work, at The New Museum in SoHo, curated by Marcia Tucker. In
1997, I was one of 7 sculptors included in a show at White Columns entitled
"Prop Fiction." In 1998 I participated in "A
Common Thread," at Wake Forest University in Winston-Salem, NC.
In addition, I am a former Member of the Board of Directors of Art and
Science Collaborations Inc. (ASCI),
and a co-winner of 2 Gold 'One Show Interactive' awards in 2000.
y
pieces often purport to be something other than what they are. The viewer
is drawn in by familiar objects and materials and is then presented with
an unexpected result. Many of my works are intended to look manufactured,
or are, in fact, modified manufactured items. Towards this end I have appropriated
the look and feel of an industrial furnace, the style of 19th Century scientific
instruments, the modernist architecture of the Whitney Museum, and the modest
everyday character of matchboxes and carpenter's rulers. Overlaid on these
associations is an affinity for arcade machines and toys, playful references
that reinforce familiarity. My attempt is to establish a familiar, seamless
facade that subverts expectation.
I use everyday objects as tools to examine the nature of reality and the relationship between myself and the viewer. Small objects provide a focal point within larger pieces, where they give the work a personal, intimate scale. A ruler, mug, eye, or postcard becomes a known reference point, acting as a mediator between the deceptively simple and the magical.
