Compost, paper pulp
38 in. x 38 in. x 7 in.
I wanted to create something of value simply from dirt. The ironies abound when we consider the “non-value” society ascribes to dirt, yet it is both the actual and metaphoric origin of us all.
The idea for “Arms” was inspired by “Coats of Arms” which has fascinated me on various levels. In Europe they came to be associated with “Class”, particularly the aristocracy. An individual’s coat of arms was conferred as a birthright for generations and was considered to be of value further guaranteeing rights and entitlement. I struggle to understand how society imputes value to objects or people. It seems to me that the concept of class is one of those elusive conventions that are endowed rather than earned. And what does this say about value, either inherent or extrinsic?
With respect to this project, I combined compost, newspaper and pulp; a statement left open to interpretation, environmentally and socially.
36 in. x 36 in. x 3 in.
This began as a “project piece” with no particular meaning, only the intent to understand the properties and capacity of the material (paper pulp) to be formed and assembled.
At Home Depot I found bales of shredded newspaper. They were used as home insulation, blown between walls. I mixed the paper with glue (wheat paste) and water until I had enough consistency to hold a shape. As I created a pile of conical shapes, I was inspired to arrange them in a circular array. I loved the form and aesthetic outcome and I suppose they appealed to the “circular” theme of our experience.
Reed Grass and Hemp Thread
12 in. x 11 in. x 8 in.
This began as a model piece for a larger project, it was created to test stain tones and to better understand the capacity of the material, but the work quickly matured into more then just a model.
The complex depth of form inspires the viewer to think more deeply and abstractly about the strengths and weaknesses of animate and inanimate attachments. Like previous works I tend to conceptualize it as it relates to individuals, society and our potential to evolve.
Driftwood, paper pulp sand and soil
60 in. x 58 in. x 6 in.
This piece was conceptualized from the moderate study of African (Mali and Burkina Faso region) granary door design. The symbolic figures adorning homes and granary doors can be ancestors, supernatural beings or objects and are generally intended to keep the entrance protected from intrusions meaning harm.
The design is based on the shapes the driftwood formed and is Intentionally primitive in order to convey a mythological past and function. In the abstract it is personal protection for the place one finds themselves.
I created six separate leafs like shapes with driftwood. Then attached burlap backing to each leaf, using the burlap to support and mold the mud-clay in each open space. Finally I attached the leafs to one another.
Driftwood, jute rope, bamboo thread, river stones
7 ft. x 5 ft. x 2 ft.
The conditions of River Stones individual materials characterized by ragged, knotted ropes, bound stones and battered driftwood intentionally imply restriction, heavy wear and tear or rejection. Whereas the totality of the works physical presence radiates qualities of serenity or a quiet resolve.
Driftwood, synthetic hair, cotton thread,
metal, wood, ceramic, seed and shell beads
9 ft. x 3 ft. x 3 1/2 ft.
"New Growth" is a metaphor about nurturing wisdom gained through growth and experience, it's about our connection to our ancestors and to nature. The physical materials are synthetic hair hand-rolled into individual locs, decorated to represent the elements with metal, wood, ceramic, seed and shell beads. Theoretically growing on, then eventually growing into nature, symbolized with driftwood. Connecting both driftwood and hair is cotton thread, conceptually passing on heritage,its traditions and the knowledge that accumulates.