: : Hide & Seek : :


Finding, hiding, forgetting, remembering. Compartmentalizing identity. What we seek and what we fear.

Dresser drawers found discarded on curbs and in alleyways were once private spaces reserved for cloth to shield and provide warmth. Often drawers are for storing valuables; papers to be unearthed in emergency, keys to locked rooms and attic treasure. In this new and evolving work the drawers represent quiet moments and separate parts of life and being, coming together and punctuated by points of light and vision.

The installations comprise of reclaimed drawers with some holding original photographs and self-portraits transferred into encaustic medium. The insides of  several drawers have been painted with interior latex paint, but most remain in the condition in which they were discovered.

This work is a continuation of Quiet/Loud (scroll down to view). The images and installation concepts began to emerge in the spring of 2018 and is currently ongoing.


: : Quiet/Loud : :


Quiet/Loud at ArtProv Gallery November 15, 2017 - January 20, 2018, Reviewed in Art New England

Maintaining a sense of self while navigating roles of modern womanhood feels like flying and drowning, in a sustained state of elation, deep exhaustion, and tense bewilderment. Quiet/Loud addresses themes of identity as mother, artist, and individual, while endeavoring to emerge whole from the complicated soup of being human.

In this generation of older parents mothers are expected to maintain their professional status along with nurturer, chef, housekeeper, chauffer, bookkeeper, and event planner. Visualizing the contradiction between asserting an identity as an individual, and being lost in the onslaught of loosing oneself in parenthood is portrayed by being silenced and blinded, of teetering on a precipice populated by broken, disembodied toys. Presenting self-portraits beneath encaustic medium is my way of quieting the penetrating sounds of life while also surrendering to its insistence. The many-step process of creating the works and the overall installation is imbued with both meditative and monotonous motion driven by the need to reconcile the disparity of suffering and love.