––– WEBWORDS –––

abstracts, 2016 ; polymer fibers on wood panel; 29-39 X 32-42 inches
A single strand of polymers is manipulated through space to express tension through abstraction; deconstruction is structurally-sound and imbedded in the act of creation, fusing positive and negative.

(Private Collection)



(private collection)




(private collection)







–––
FIGHT/FLIGHT, 2015
polymers, housepaint



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ghost glossary, 2008
multiple panels at ~11-14 X 26-38 inches each; cotton, rabbit skin glue

––– WEAVINGS –––

–––
AsOne, 2017
diptych: 38 X 56 inches each
cotton and polymers
Handwoven digital jacquard depicting double standards within a self-directed artistic practice:
"silencing my silencing, exploiting my exploitation".










–––
there are no mistakes, 2012
cotton, synthetic polymers



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data strata, 2011
cotton, synthetic polymers

––– WELDINGS –––

–––
(is) everything (is), 2016
22 X 36 X 48 inches; steel
(is) everything (is) was a response to preminitions, survival instincts, and coping mechanisms building in previously traumatized indviduals in the period leading up to the 2016 US presidential election.
Materials such as cloth and paper can be rusted in different arrangements of the text through direct application to the piece:
"is everything okay" and "everything is okay".







––– MIXED MARKS –––

–––
Other Female Myths:
shrouded stance; spokenfor; thirteen thoughts, 2013
(2) 3 X 42 X 42 inches each, and various sizes respectively
tar, cotton, wool, ashes, mammalian teeth, newsprint, wood, ink
Continuing themes of self as spinster, biological processing of dichotmies such as predator and prey, feminine and masculine .










(private collection)










(private collection)

––– CAPSULE COLLECTIONS –––


–––
RORSCHACH, 2012
wool, limited production line of knit accessories






–––
misc., <2006



cloak coat



o'keefe dress




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Also see select objects and wall-based works: INTIMATE