Artwork

edge detail of, Location (N.W. Corner) On the Overtones of Place – 2014
The paintings in the Overtones of Place series began intuitively in relation to a longstanding appreciation of maps, cartography and abstract color patterns. In trying to understand why these things appealed and why these new paintings felt exciting, it became clear that there is such an interesting multiplicity of layers operating when we examine maps. As information, they reference actual places, they are diagrams of urban planning and social design, they are symbols of our ideals and failures regarding human habitat, they are traces of economic patterns and political struggles, they are historical documents and more…View Work and Read more >>
slipstream
In the Slipstream – 2010
slip·stream: \ˈslip-ˌstrēm\ noun 1: a current of air or water driven back by a propeller; a partial vacuum created in the wake of something; an assisting force drawing something along behind something else 2: a surging flow bearing everything along in the swirling eddies and whirlpools of its wake 3: a logos, a profusion of alphabets, viral colonies, DNA helixes, chromosomes, swimming sperm, children’s drawings, hieroglyphs, symbols, star charts, color, light, random marks, scribbles and signs drafting in the germination of fluid washes of watercolor and gouache…View Work and Read more >>
ideas-of-order
Ideas of Order – 2009
These prints are about the different systems of order by which human societies manage life.  Human societies in every age are organized according to ideas of order.  How goods are produced and sold, who holds wealth and who is poor, how conflicts are resolved, how authority is established and behaves, how power is held and transferred, how religious and philosophical beliefs are open or imposed, how laws and mores are applied, how the one and the many are balanced, how love, desire and sex are nurtured, controlled or repressed, how knowledge and information are communicated or kept secret, how creativity and interpretation are allowed or forbidden; these and more are the systems of order by which all eras organize themselves.

My Ideas of Order prints trade on this situation.  View Work and Read more >>

diptych
Diptychs - 2009
Folded leaves, hinged tablets, altarpieces; pairings, couples, partners, conversations; dialogs, arguments, struggles.  Things that come in twos and interact.  There is a binary structure with its dialectical dynamic everywhere… Just so, the paintings on paper in this ongoing series are ‘diptychs.’  They have a left image and a right image, but together they are constitute a total image in conversation and tension: an implied triptych… made out of play and pleasure and desire  View Work and Read more >>
weather
Weather Reports - 2007
The Weather Reports is a series of drawings and intaglio prints done in homage to the majesty of violent weather.  Growing up in Wyoming and Colorado, where high, windy skies and intense weather was a formative part of a child’s psyche, I have ever since loved weather phenomena.  Daily weather is the source of these works.  The title was inspired by Kathleen Norris’s book, Dakota, A Spiritual Geography.  In that book, she intersperses chapters about life in a small town on the plains with short “weather reports” which are, simultaneously, scientific accounts that ground the reader in nature and rational fact, and poetic metaphors that ground the reader in spiritual movement and subjective meaning within how we read our place on earth.  View Work and Read more >>
picture-2 The New York Times Poems - 2006
My collages, The New York Times Poems, are each assembled from one day’s news and advertisements, as if the linear progression of the paper-as-information (news) interspersed with the non-linear come hither of the paper-as-erotic-fetish (ads) had become one flesh; as if the layers of its pages and contradictory intentions had spent the dark night together on my doorstep, coupling in that blue plastic sleeping bag, their discourse/intercourse producing grotesque, hybrid children-as-collages.  Their offspring-as-collage—cut, violated, surgically reconstituted with scissors and tapes—are part monstrous deformity, part gorgeous surface.  And though seemingly only fragmented parts pieced together incompletely, they become hybrids of information and desire that, once recombined, now report some larger, deeper truth. View Work and Read more >>