Scripps College

In my paintings and drawings, pictorial languages of representation and narration pose questions about current social circumstances and practices. By taking familiar subjects out of their conventional contexts, I ask the viewer to consider the metaphoric role of the commonplace and the overlooked. Renewed within the image, the ordinary becomes extraordinary, triggering questions that cause us to reconsider our own role within our surrounding landscape.

My work is thematically driven and project-based. This portfolio includes selections from three recent projects: Arrangement for a Silent Orchestra, According To Their Kind, and Prospect; followed by examples of Student Work.  Please see my Writing Sample for the complete project statements.  Click here for Reviews.


 

Arrangement for a Silent Orchestra

CLICK IMAGES FOR SLIDESHOW  From left: Prelude | 2012 | oil on canvas | 80″ x 95″; Allegro | 2012 | oil on canvas | 80″ x 95″; Andante | 2014 | oil on canvas | 60″ x 70″; Scherzo | 2014 | oil on canvas | 80″ x 95″; Fuoco | 2014 | oil on canvas | 80″ x 95″; Adagio | 2012 | oil on canvas | 80″ x 95″; Largo | 2012 | oil on canvas | 80″ x 95″; Untitled I | 2013 | charcoal on paper | 45″ x 54″; Untitled II | 2014 | charcoal on paper | 45″ x 54″; Arrangement for a Silent Orchestra | installation views | Prescott College Art Gallery at Sam Hill Warehouse, Prescott, AZ

Arrangement for a Silent Orchestra explores the relationship in contemporary culture between increasing dependence on technology and decreasing evidence of cultural heritage. A pile of worn violins in a mountain clearing – the displacement of culture in nature – reflects the abandonment of artistic practice in an age of instantaneity. The landscape, one of the oldest conventions in painting, is renewed through its contemporary designation as a crematory site for the classical tradition. By observing the violins’ incineration through painting and video, the project explores the relationship between tradition and technology in visual culture. Arrangement for a Silent Orchestra will be exhibited at the Mesa Contemporary Arts Museum in Mesa, Arizona in December 2014.


 

According To Their Kind

CLICK IMAGES FOR SLIDESHOW  From left: Untitled (zebra genealogy tree) | 2007 | charcoal on paper, eleven drawings | 15” x 18” each, installation dimensions variable; Untitled (flamingos) | 2006 | charcoal on paper | 78” x 45”; Untitled (zebras) | 2006 | charcoal on paper | 45” x 93”; Untitled (elephants) | 2006 | charcoal on paper | 93″ x 45″; Untitled (lions) | 2006 | charcoal on paper | 45″ x 108″; Untitled (giraffes) | 2006 | charcoal on paper | 104″ x 45″; Untitled (according to their kinds) | 2007 | charcoal on paper | 33″ x 45″; Untitled (desire to have) | 2007 | charcoal on paper | 35″ x 45″; Untitled (and God blessed Noah) | 2007 | charcoal on paper | 37″ x 45″; Untitled (altering the number) | 2007 | charcoal on paper | 31″ x 45″; Untitled (you are righteous before me) | 2007 | charcoal on paper | 38″ x 45″; Untitled (ark I: bamboo boats) | 2007 | charcoal on paper | 88″ x 45″; Untitled (ark IV: rafts) | 2007 | charcoal on paper | 45″ x 92″; Untitled (embryonic stages #1, 3, 4, 10, 13) | 2007 | charcoal on paper | 15″ x 17″ each; According To Their Kind | installation views | The Gallery at Flashpoint, Washington D.C. | 2008

According To Their Kind is a series of drawings that investigates issues of natural selection and selective breeding. Making connections between the biblical story of Noah’s Ark and contemporary practices, the project illuminates the contradictions inherent in genetic selection. The drawings depict passages from Noah’s Ark, animals paired for breeding, quotations from reproductive medicine, boats (arks), and human embryonic stages. The juxtaposition of these images asks the viewer to consider the impact humans have on evolution, and raises questions about current practices that will determine the demographics of future generations. According To Their Kind was exhibited at The Gallery at Flashpoint in Washington DC in January 2008, and received a full-page review in the Washington Post.

According To Their Kind reviewed in the Washington Post: “Man vs. Beast: An Intimate Look,”  | PDF  And, The Story Behind the Work | PDF


 

Prospect

CLICK IMAGES FOR SLIDESHOW  From left: Fortune | 2007 | oil on canvas | 95” x 80”; Vanilla | 2008 | oil on canvas | 42” x 48”; Indenture | 2006 | oil on canvas | 80” x 95”; Quarry | 2006 | oil on canvas | 80” x 95”; Holding Pattern | 2005 | oil on canvas | 80″ x 90″; Discipline | 2006 | oil on canvas | 42″ x 48″ | Howard Tullman collection; Prospect | installation view | Coconino Center for the Arts, Flagstaff, AZ; Prospect | installation view | Space Gallery, Denver, CO | 2009

Prospect explores the role of the exotic in contemporary Western culture. When a subject – artifact, animal, or person – is sought for rarity or uniqueness, we expect it to retain the desired characteristics of otherness that make it distinct. Prospect aims to expose our reliance on peculiarity, asks viewers to consider how the allure of the exotic hinders genuine cultural integration, and draws attention to the subjugation of the ‘other.’ This project was awarded an Artist Project Grant from the Arizona Commission on the Arts in 2007.


 

Student Work

CLICK IMAGES FOR SLIDESHOW From left: Iris Cushing | Analytic/Synthetic Abstraction | 2005 | oil on masonite | 11” x 17”; Laurel Fulton | Analytic/Synthetic Abstraction | 2005 | oil on masonite | 11” x 17”; Studio view | Non-objective Abstraction | 2006; Steven Chaprnka | Non-objective Abstraction | 2006 | oil on canvas | 32” x 50”; Celia Chatham | Landscape Abstraction | 2012 | oil on paper | 24” x 30”; Mya Kass | Tenebrism | 2007 | oil on canvas | 42” x 58”; Lauren Stocksdale | Tenebrism | 2010 | oil on panel | 32” x 55”; Ramona Bradley | Figure in Context | 2007 | oil on canvas | 65” x 45”; Studio view | Pastiche; Ilana Stein | Pastiche | 2007 | oil on canvas 60” x 40”; Jesse Rens | Pastiche | 2011 | oil on canvas 42” x 36”; Hannah Strickland | Pastiche | 2011 | oil on canvas | 42” x 58”; Amanda Maas | Scientific Illustration | 2013 | gouache and tea on paper | 17” x 11”; Brian Cavers | Scientific Illustration | 2011 | gouache on paper | 30” x 22”; Zach Myers | Accuracy and Imperfection | 2012 | graphite on paper | 12” x 11”; Viorica Jennings | Accuracy and Imperfection | 2011 | graphite on paper | 11” x 14”; Decomposition Mural Project | 2010 | Prescott, Arizona; Kino Bay Field Station Mural Project | 2012 | Sonora, Mexico; Natural History Institute Mural Project in-progress | 2014 | Prescott, Arizona; Natural History Institute Mural Project | 2014 | Prescott, Arizona

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