A Congregation of Ideas Across Multiple Projects

A collection of related works about process, personal and constructed identities, craft materials and meaning, drawing and language. ----- I tend to make artifacts. A group of objects and images are the best way for me to explain how I think; like an unraveled rebus. Collections and materials can be condensed into a network of visual patterns, materials, and forms. A single item can disrupt the rhythm; creating a place where strange relationships may elude to a queer or peculiar outlier. I seek out memories that shed light on people, places and things that common histories have obscured. This is essential in a world where those of us whose identities don't fit certain ideals are often marginalized. I reimagine narratives—layered and coded, and I make relicts as traces of a revisionist history. If a memory, a moment in time is meant to matter emotionally, symbolically or mystically, rituals and artifacts will be close at hand. I work in an array of mixed media and process-heavy approaches and materials. That said, drawing, printmaking, and ceramics are at the core of my art. My methods are informed by craft traditions and require many of its fundamental materials, including clay, wood, and textiles. The performing arts are important traditions for me, so while working I tend to envision theatrical situations. These influences often trigger the creation of characters that require costumes, props, performance, and photography. The combination of signs in my work is not a closed thought, but rather it is an outcome that serves to create a space for intimate experiences and identification with a personal or shared memory.

Ceramic, Drawing, Sculpture


Congregation of Wits I (Installation)

2018 collection of forty double-sided silkscreen prints, acrylic frames, brushed stainless steel ledges, installation 100 x 144 x 4 inches 1,000 drawings culled from sketchbooks compiled over the past twenty-seven years, this series exploring image and language was initially inspired by the Talking Sculptures of Rome, a group of ancient sculptures that have been centers of public discourse for the past five hundred years. With this in mind, I created a collection of forty silkscreen prints comprised of 1,000 unique drawings with corresponding text messages printed on the back of each image. The images range from the sacred to the profane, often intertwined with humor and politics reflecting the times we live in.


E, “Sous Les Pavés, La Plage!” (Congregation of Wits)

Double-sided silkscreen print on cotton rag paper 2018 17x17 inches Edition of 40, Recto and Verso, details from one of a series of print editions included in the series Congregation of Wits, a multi-media drawing, print, animation and sculptural project exploring drawing and language.


Study for Pasquino

Tin glaze over stoneware bust with silkscreen print on paper and acrylic medium 2018 10 x 5 x 3.5 inches This is a study for a developing series of sculptures inspired by the Talking Sculptures of Rome. Printed images on paper, fabric or glaze transferware are wrapped and pasted over the surface of ceramic forms; in this case a figurative form of a bust after the ancient Roman statue nick-named “Pasquino.”

Ceramic, Drawing, Print, Sculpture

Reliquary II (Flores Jamon)

Ceramic, slip cast, underglaze inlay and transfer-ware print on unglazed stoneware 2016 16 x 8 x 6.5 inches The form of a ham leg which appears in my prints and many of my drawings fascinated me after traveling in Spain where I encountered the Jamon Iberico. At the time I was reading an essay by Christopher Hitchens titled “Why Heaven Hates Ham,” detailing the prohibitions and customs about charcuterie. In the essay he suggests that pieces of pig offered to guests in Spain emerges out of a tradition from the Spanish Inquisition, and was a means of rooting out non-Christians, or disingenuous converts. Peculiar histories fascinate me and often find their way into my visual language.

Ceramic, Print, Sculpture

Last Breath (installation)

Blown glass, silkscreened glass enamel print on sand-blasted and rolled clear and white glass, tin-glazed ceramic, cork, air from my mother’s deathbed 2014-2016 38 x 16 x 16 inches My mother was dying of stage four lung cancer. I made this work while my siblings and I took care of her in her last year. She encouraged my creative eccentricities and we made art together in the last few months of her life. This was the last work I did with her, her last breath, captured within this blown glass tear-drop. The enamel glass image is from an ongoing exploration of the faces of Mahākāla, a Hindu protector deity.

Ceramic, Glass, Print, Sculpture

Felix (Fascist)

2019 Photograph enamel on metal, ceramic, gold, wood, lacquer 70 x 38 x 12 inches Many of my projects include a parallel process that I use to generate ideas, images and narratives that help me make sense of how I make work. In this case I use character studies or personae which I name and imagine their motivations and desires. I use a persona like Felix (Latin for Lucky) as a means of generating images and language that then intuitively evolve in my drawings, prints, and other works. The persona, in effect becomes a faceted mirror of the world, that I make artifacts and images about and for.

Ceramic, Photograph, Sculpture