Interest and study of energetic and growing systems related to human physiology, botanical evolution, architectural structure, and neurology inform the philosophy of the work. Through the process of hand-cutting, hand-printing and overlapping visual elements on translucent papers, I seek to develop an interactive, interwoven symbiosis of circulatory, metabolic and mapping dynamics; communicating through a purely visual sense complex yet simple reoccurring patterns that signify personal and universal knowing, and compassion. The Scrolls become Mappings become Skins become Books become Undressings; each form an evolution and integration of prior works. For example, the dresses are an extension of the human form, the actual structure and skin, the Anatomy of the Temple, disrobed. They are also books, enclosing and unfolding, simultaneously.

The process is printmaking: images are cut from paper to create the stencil, then printed. Each print is unique. By printing onto both the front and back of the paper, and laminating various sheets of printed papers and fabrics together, layers of imagery are created. The individual pieces are installed together as installations, often free-hanging. They filter light and image, may enclose or delineate space, move with the shift of air, lie on the floor, be stacked in piles of pages, sewn into books, hung on clothes lines, worn, flown as kites, used as wrappings, or otherwise manipulated or used. The work is basically about living and dying: vulnerability, weathering, aging, remains, history, memory, and language. The process of working is a sort of sensory storytelling.

Compositions in Neurotopography
a page of the book

The installation at the Gallery of Visual Arts, Missoula, MT October, 1998

Selchie Dress
mixed media, 5'5"x2'

Dress Code

Double-breasted
(Love Like a Mountainseries)

detail of installation