Mixed media sculpture and installation; Visual Art and the Human Body; Interdisciplinary concepts and practices in contemporary studio art
I believe, in our image-based culture, the supremacy of the eye can still be challenged by the physical experience; because of this, I am an object-maker. At the same time, I am intrigued by images of a certain kind: scientific diagrams; lines on maps representing the actual geography of a place; and the pixilated, digital transcriptions of the physical world appearing as ubiquitous photographs. This descriptive quality of images interests me; their potential for distilling and communicating visceral experiences and empirical findings in a form of binary, didactic, and idealized representations of data. Valued mainly for their information content, I borrow these images in order to dissect and remake them again as beautiful and fragile objects.
Having been trained in medicine, my art making process is like a tightrope walk between analytical, scientific objectivity, and subjective, visceral experience. Working with mixed media, I gravitate towards materials and processes that reference the structures and experiences of the body. I use a wide range of natural and synthetic materials, like porcelain, felt, paper, and plastics. As a sculptor, I tend to understand the world through my sense of touch. In the process of making, labor, time, and the physical activity of engaging with the material bit by bit, square inch by square inch, are essential aspects. This way each project becomes a new challenge: a struggle to accept or defy my own physical limitations, precision, patience, and endurance; a curious sort of athleticism inherent to making sculpture. Although I’ve never been much of an athlete, my love for distance running taught me a lot about this relationship between the mind and the body.
My recent work considers the existence and necessity of boundaries, whether they are actual or perceived. Working mostly in large-scale and installation formats, the pieces become an invitation to explore ideas of space and border, the threshold between inside and outside, public and private experience; posing a challenge to trespass from the visual to the tactile.
Whether working with beginner or more advanced students, my goal in teaching is the same: guiding students through the process of exploration and immersion in building a toolkit of conceptual and practical skills, which then could be applied for a wide variety of creative contexts.
In the Interdisciplinary Visuals Arts Program, I teach the Issues and Influences of Contemporary Art course (ART 260), as well as Materials in Context (ART 355: Sculptural potentials of fabric, wool felt, handmade paper, and synthetic rubbers and resins), a variety of topics (ART 360), Art and Social Practice (ART 365), The Creative Studio Process (ART 395), and the spring Senior Project (ART 400). Outside of the School, I teach cross- and interdisciplinary courses, such as The Cultural History of the Skin and Opposites Attract: Creativity in Art and Mathematics.
Selected Exhibitions and awards
2016 European Ceramic Work Center Residency; Collaboration Studio Grant, Walter Chapin Simpson Center for the Humanities; Synaptic Lexicon, Nine Evenings 2
2015 Parlor Games: Parallax,Kittredge Gallery, University of Puget Sound; Parlor Games: Axioms, Largo das Artes, Rio de Janeiro; New Foundation Grant; Palavras, Seattle Center
2014 Construct, Linda Hodges Gallery
2013 Artist Trust GAP Grant