These works delve into memory, relationship and risk. Songs of the Siren are confrontational, firm yet their message is obscure. I am interested in that ambiguous space between lure/call/seduction and warning/caution/admonition. How do we know the difference? What might be learned from the shipwreck? Two sculptures, Nothing’s gonna hurt you baby and As long as you’re with me you’ll be just fine, embody the space of after-the-factness –– holding dualities of survival and wreck, beauty and brokenness, strength and vulnerability. They are all titled from the songs “Song to the Siren,” This Mortal Coil and “Nothing’s Gonna Hurt You Baby,” Cigarettes After Sex.
Songs of the Siren: Sail to Me
Stoneware 2018 25”x16”
Songs of the Siren: Swim to Me
Stoneware 2018 30”x18”
Songs of the Siren
Nothing's gonna hurt you baby
Stoneware 2018 40” x 18”
As long as you're with me, you'll be just fine
Stoneware 2018 33” x 16”
Stoneware 2018 16” x 14”
Stoneware 2018 16” x 18”
Work on paper is a significant aspect of my methodology; one that expands my efforts to interpret the sculptural objects. This inquiry involves print-making and drawing techniques such as collage, frottage and monotype. I lay down fired sculptures and pull ink across the surface, or rub charcoal over the relief, then press into paper. As I continue to explore the possibilities of residual image and mark making, I am enlivened and driven –– frustrated too –– to translate my object work as echoes and reverberations.
Vessel is a compelling and powerful medium to work in. It gets to the essence of my love affair with ceramics. I am deeply inspired by the work of Toshiko Takaezu, Gareth Mason and Tony Marsh, and the conversations that they are having with the history of vessel and self. For me, vessels are psychological. They can hold loss, longing, desire and loneliness.
Stoneware 2016 From left: 37”x12”, 36”x13”, 39”x14”