I seek to represent my own reducible reality, my transience.
The political scientist Glenn Tinder said “argument is the stepping out and affirming of one’s own irreducible reality,” but I am more comfortable with fluidity than solidity. My attention is drawn to the permeable membrane between conditional reality and transcendence, the simultaneous layers of this human experience, our clothes and our invisible core. I sense that when I work creatively I open access to a world of threads in our collective dream life or at least to the depth of personal symbols that have meaning to me beyond reason, argument, or words.
Since 1990 I have made ceramic birds. As planters and bowls, the birds nurture the space within them. When one tall bird looked a little bare, I made a clay dress for her. When the dress didn’t quite fit, I hung it on the wall and soon observed that the bird’s absence reflected her presence, and that the relatively flat surface was like a shaped canvas where I could enjoy decorative play with texture and color. Indirect narrative grew from my consciousness of a deep river of stories both told and untold. I portrayed famous women and nursery rhymes: - Joan of Arc, Cleopatra, Marilyn, Four and Twenty Blackbirds. At times I use words and symbols to reflect the way we decorate our naked souls with opinions and ideas.
Recent dresses incline toward flight and have come off the wall into the round as freestanding and hanging sculptures. The invisible figure behind them is passing through as a temporal, spiritual inhabitant of her physicality. “Spirits in the material world” as the Police would say.
I would like to fly. Dreams of flight taking off from my grandmother’s front porch step and gliding up to weave in and out of the ethereal treetops – this sensation informs my work. In recent monoprints, collographs, and etchings I utilize the dress in flight in narrative fashion. When I work abstractly, I begin with a kinesthetic narration and translate the condition of my presence into a collage of spatial sensation, texture and color until I recognize the place and feel at home. My experience, both visual and physical, is grounded in the natural world.
I would like to reflect a common thread of my feminine experience, women’s experience in our skins and in this political world, with a prayer that we and our daughters and sons can rise in simple flight above repression, discrimination and abuse to be the creative, powerful, and beautiful children we were born to be. The creative process brings me home to this ideal.