INDIVIDUAL ART WORKS
Sandscapes & Clayscapes, 2006 - present
Bas-relief landscapes of clay and cooked sand on canvas with embedded ceramic and paper pulp. These scapes are made up of individual canvasses and assembled canvasses. They are landscapes of invisible realms.
Women-Building, 1979 - 1982
A series of sculptural environments and enactments exploring the relationship between our human gestural stance and the structures which oppress or empower that stance; the emotional still-life of space as either isolation or participation depending on the juxtaposition of human posturing and built environment; a narrative social history in visual and written terms, in which woman/man as we have known her/him is disappearing or undergoing transformation. This work includes the following pieces:
I. EMOTIONAL BAGGAGE
Performance of a woman searching through her suitcase which is filled with small clay figures as emotional gestures
Performance: Greyhound Bus Station, SF, CA., Nov. 1979
II. CROSSOVER WOMAN
An outdoor sculpture and ritual where physical space is patterned for personal revelation and group gathering
Performance: Yelapa, Mexico, Jan 1980
III. HARSH BIRTHING
A sculptural piece reflecting woman/man as body/container raw, vulnerable and fragile to the awakening of the nuclear age and its relationship to procreation.
Exhibitions Postcard Mail Art Across the Country, 1980 - 82
Double Rocking G Gallery, "An Invitational Art Exhibit Opposing Nuclear Proliferation and Militarism", Los Angeles, California, 1982
Vida Gallery, SF, CA., "Fabric Of Our Lives", 1981 (juried exhibition).
Description included in Chellis Glendenning's chapter in "An Approach to Health in the Nuclear Age", compiled by Ken Porter.
IV. UP AGAINST THE STRUCTURE OF OUR LIVES
A sculptural installation of charred gestural clay figures showing woman/man as nature in relation to the linear structure, "the biological to the industrial, the charred crumbling psyche built up, just like that around her."
Vida Gallery, "Fabric of Our Lives", San Francisco, California, (juried), 1981
South of Market Outdoor Space, San Francisco, California,site-specific installation in the parking lot, June 1981
V. RANDOM FLAT, ARCH TOWERS
An outdoor sculptural installation working with natural material as earth and natural time processes; the idea of separation and fragmentation as common ground in natural structuring.
Bodega Mud-Flats, Bodega, California. July/Aug. 1981
VI. STRATEGIES FOR STANDING
A sculptural installation as a confrontation between two forms of survival: a) linear strategy with concomitant encrustment of personal meaning and b) communal support with its fragile balance of continuance. Installation includes sound, text, and rocks with clay figures.
Searching for the Ground of Memory: Shalom, Salaam, 1985
Sculptural environment as a peace ritual based on a) personal roots as a place of reflection; b) the exploration of commonality through Hebrew and Arabic language; and c) the image of a scroll as evoking lost remains of history
Exhibitions: Art Department Gallery, San Francisco State University, "Faculty Show", San Francisco, California,
Invitational show, 1985
Studio 1290, SF, CA, Open Studio, 1985
Mindport, "Sculptures Show Art as Artifact", Adele Kramer, Fall 1985
Prayer Stones: Mother, Daughter, Mother, 2001 - present
Ceramic stele with fused glass inserts, photo transfers and mixed media works on paper and ceramic plaques. These works are records of relationship and remembrance.
Exhibitions: Iona Gallery, "Layers of Time: Seven Women Across America," (invitational), Dunsmuir, California, 2002
Create Arts Center, Bethesda, MD, 2002
Prayer Pages, 1995 - 1999
Works on paper made up of photo transfers and mixed media (pastel, oil bars, powdered pigments) and poetic text. These artist books question mortality. They are memorials to loved ones.
Exhibition: Create Therapy Institute, “Art as Meditation,” Bethesda, Maryland, 1998
Overlays are photo transfers created out of sandwiched images of my drawings or sculptures with images of places and environments of meaning. They have been used as projected slides for performance pieces, drawings with mixed media (pastel, oil bars, powdered pigments) and other transfer processes.
Soul Carriers, 1993 - 1996
An installation of works made up of cell/egg drawings and ceramic boat/carriers reflecting the process of medical technology and fertility. Soul Carriers both awaits and carries life as a transportive process, aligning the literal with the imaginal in a relationship of awe and mystery.
Exhibition: Art Department Gallery, The George Washington University, "Twenty-Fifth Anniversary Show", (juried), 1996.
Rock, Egg, Ball by Yani No Way is a prayer book created as if it were spoken in the words of my daughter when she was two years old. It is created with the first signs of awareness/anger/shock as prayer. It is the release and transformation of hope/fear that surrounds the love/loss of cancer as a life-threatening illness entering a family and touching the lives of loved ones. The pages of the book are experienced as an interactive performance, as the book is read through a series of rolled open pages, with images and words spoken as the rock/egg/balls move.
Silent Prayer: Layers of Encrustment is a prayerbook where the words are silent. Communication moves across the page through shape, color, and line, as the reality of life and death, takes its own shape in prayer.
The Bones, The Tree is a prayer book created through the encrustment of sand and grit, the media of awareness as the course of cancer as a life-threatening illness envelops family, encrusting the lives of loved ones with bitter/sweet changes.