I work in two modes:
- Sets of two or more pieces with related figures, or related views of a single figure, that are meant to be seen together, but each piece can stand alone. The pieces are separate but interrelated.
- Single works with an accumulation of figures. The accumulation creates a single whole, like a group of cells create a body or a group of letters creates a word.
In each mode, repetition and/or accumulation of figures creates relationships between the figures as well as a sense of movement. The life-size scale of my work confronts viewers with bodies. It challenges viewers to relate their own bodies to the work—to think about how their own body moves and feels.
I want viewers to think about how they relate to and understand my depicted figures viscerally and culturally. Culture gives us systems of generalizations (that are often predicated on a dominant power’s point of view) for understanding others. My work struggles against these reductive systems by showing individual beings as multiple and/or fragmented. These multiple/fragmented depictions are a direct challenge for viewers to see whole, multi-faceted individuals. In addition to cultural dictates, each person looking at my work brings his/her own point of view. Each person or animal I show is a whole being, not a creature defined by other viewpoints. This multiplicity of viewpoints is the energy in my work. The power of my work is in showing expressive bodies in a state of undeniable being.