May 22 - June 21, 2014
Gallery Open: Thursday - Monday 1-5pm
Opening Reception: Friday, May 23, 6:00 - 8:30pm
Artist Panel Discussion: Friday, June 6th, 6:00pm
Gallery Open: Thursday - Monday 1-5pm
Opening Reception: Friday, May 23, 6:00 - 8:30pm
Artist Panel Discussion: Friday, June 6th, 6:00pm
Hoot Wail & Buzz | East Gallery
My work straddles the worlds of two and three dimensions. An artwork might start as a wall relief and end as a floor sculpture. Driven by materials that are manufactured and handmade, I repurpose and transform them. The work is inherently imbued with meaning beyond the planned and researched, as its materials become a contemporary artifact reflecting the decade and century while also commenting in part upon the accumulation of cultural debris. I build vibrant interactive landscapes that visualize an environment while integrating with its surrounding architecture. My process includes incorporating effects that distort dimension, alter optics and challenge our perception of how image and meaning fuse. Relief allows for the play of light and draws out shadows or radiance of a material, bridging the ethereal with the real. Color is used purposefully as emotive and associative. Much of my work offers map-like views of “systems” found in the natural world. These systems contemplate daily life as a collection of observed objects and data that reconfigure communicative behavior into meaningful patterns and structures. Ultimately my work is about joining together a variety of elements that advocate transformation.
Women's Work | TDP Gallery
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These everyday, actual-size, wooden objects of women are usually associated with the women that I densely cover with 29 different pewter from my personal iconography nailed into each piece. These works are heavily influenced by my Italian Catholic background and my interest in and collection of folkart.
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Name Change | West Gallery
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The Name Change project was started in 1970 to explore a theory I conceived about the way art history would evolve in the future. I developed this theory as a means of freeing myself from a system that I found frustrating as a young artist at the beginning of my career: that my work should develop as a linear chain-link model with each creation leading logically to the next. Instead, I preferred to envision my work as a three-dimensional sphere getting larger over time. To demonstrate this theory I had my name changed legally twelve times in the District of Columbia court system. For each name I created works of art and exhibited them at the Baltimore Museum of Art in 1972. For the past thirty-five years I have continued to create works for the twelve names. This catalogue is about that work.
Had I created all of these works under one name, I believe they would have been received very differently, with critical analysis of the development of the artist figuring prominently in the consideration of each piece. The different identities under which I made this art may allow for a broader approach to receiving these images, without tying them to past history or future expectations. |
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