Bill asked to have some studio views from me and Kate. Unfortunately, my studio right now is a) my computer at work, or b) my kitchen table, which gets packed up at the end of a drawing session so that it doesn't get food or my child's interactions with the world (food/pen/saliva) all over it, so there's not much to see. Here is what my studio looked like before it got packed into drawers and expando-files:

Here's a little constellation of drawings and bits'n'pieces from May 2006:


Here's my most recent project, a website for the artists' collective that I am part of. All hail the Moving Crew. Drop the Moving Crew a line if you want to be included on the links page. Some Moving Crew members will be going to Indianapolis for the first half of an exchange with Indy artists at a gallery called Big Car at the end of the month. I will report on this endeavor when it happens.

And an excerpt from my MFA thesis and brief description of some past projects:
     Potential energy interests me more than kinetic energy. My work offers quiet, calm, a personal vision with no action, no narrative -- just constellations, tableaux, landscapes, inhabitants who look, who exist, but do not act. I like still figures and stable compositions, open spaces where nothing happens. I like a world without disturbances, where everything is frozen, still, unmoving, and everyone only looks, watches, is silent.
     Henri Matisse famously said that 'art should be like a comfortable armchair'. For me, art should be like walking in a city next to a tall fence, noticing a hole in one of the palings, peeking through it and seeing a savanna on the other side. Art, at its best, opens up a space for viewers to contemplate what is in front of them and what surrounds them – their lived existence as well as the artist's constructed universe. The open field, the lone watchful animal, the self-contained world, a quiet space that goes entirely unnoticed by many people: these are my touchstones, my archetypes.

Projects:
     Often, my installations exist outside traditional gallery settings and appeal to a viewer's sense of wonder through their frame or context. I am interested in questions of accessibility, both physical and conceptual. My work often rewards the observant and patient viewer and privileges stillness and calm over action and proliferation. Past installations include a Wunderkammer and three-projector slide show installed in the walk-in freezer and meat-packing area of a disused butcher's shop and nocturnal video projections on the side of a hill overlooking a busy street. In these instances, the audience is a public larger than the one which might self-select to visit an art gallery. I have also made microinstallations behind street-level windows that could only be viewed through small peepholes and could easily be passed by unnoticed. For those who saw the portals to this other world though, the restricted viewpoint created an intimate experience of the piece and amplified the contrast between the viewer's environment and the one seen through the viewfinding device.