a selection of work from exhibitions
My first real foray into creating was purely within the fine arts world. Inspirations were the impossible realities of the Dutch draftsman M.C. Escher which then lead me into the fantastical dream paintings of Salvador Dalí. Early pieces therefore were an attempt to master a perfect image but one that also made the viewer stop and think briefly "Is that real? Possible?". I believe this is still the root in my work, as it has found its way into three-dimensional surfaces, and performance.
Series of ceramic busts exploring the dynamics of static matter and expressiveness.
Exercises in charcoal sketches on large, 2 metre wide rolls of paper. Images either are inspired by the tension built up inside the body, or the release inspired by a communication with music and visual imagery.
Years ago while working from my studio in the basement of a former slaughterhouse, I was preparing to print a run of black & white photos for an exhibition on travel. The overwhelming amount of dust in the studio prevented any sort of presentable image and I was forced to rethink my approach. This body of work was born from that. Using non-traditional transparent surfaces in place of the negative allowed for more forgiveness in the cleanliness of the final image. Hence, the use of leaves, monetary notes, or even the directly printing with my hands dipped into chemical before onto the paper. This became the show titled (t)here at The Slaughterhouse Gallery and Studios, Pittsburgh, Pennsylvania.
In preparing for the exhibition (t)here, a collaborator cancelled at the last moment, leaving me the task to fill the gallery on my own. I looked into any and all resources at my disposal, namely the 1-hr photo centre where I worked at the time. The result is a large portfolio of these graphic images all varying slightly from each other in tone and composition. All five displayed in a tight hallway were sold immediately to an overly excited man who finally asked "You have to tell me! It's tape isn't it? You're brilliant!". Yes, it was just tape.
This piece combines plaster life casts with papier-mâché photography and found objects. The combination of the three-dimensional lifecast and its obviously closed mouth with the photo collage of my open mouth resulted in an optical illusion in which, depending on what angle one viewed it from, he or she sees the mouth in different positions. Night Shade Festival, Live With Animals Art Space, Brooklyn, NY.
A collaboration with performance artist and designer, Miss Ekaterina. As the final culmination of her postgraduate studies at Central Saint Martin's, London, which dealt with the difficulties of an individual attempting to brand herself her for the public. For this project, I made several silicone moulds of 1-inch square cubes, in which various 'relics' of her performance life were suspended in a clear resin: glitter, hair, false eyelashes, mirrors, etc.