A list of works as self-portrait and as representations of my self as an artist.

A list of works as self-portrait and as representations of my self as an artist. Significant projects, challenges, processes and times: Actions personal and political 2010-2102, Erasure 2009, Documentation 2005-2008 and Rememory 1990-2000. Broad sense, I am most interested in the past and make projects where the past and future collide. Memory and time are conductive threads in my work as are chance, forgetting and illusion. Books are source of solace for me and fuel my imagination and creative process.

Strange to Meet You ink and photo dyes on paper, duration 52 weeks, 52 painitngs, Documentation 2005-2008 (documentation, diary, repetition) a visual diary of sensory experience and physical experience

Voguing ink and photo dyes on vogue covers and watercolor paper, Documentation 2005-2008 (documentation, diary, altered) Presentation and performance and the rupture between perception and object, personal and political

“How do I look? Where do I look? Who is looking?”

Cover Stories ink and photo dyes on paper, Documentation 2005-2008 (documentation, diary, copied, 2005-06) A devotion to nurse themed comics and paperbacks

Lesley watched, keen-eyed, while he screwed the fresh syringe onto the needle.

He touched his lips to the pulse throbbing in her throat.

Vonnie swallowed hard.

Meantime, Tubby stood in the doorway, smoking a cigarette.

“Honey, you do like being a nurse, don’t you?” he asked.

“I want you to pour ointment on me.”

Her nails bit into the palms of her trembling hands.

There was no postponing climaxes, and no avoiding them.

True he had barely touched her-yet her flesh tingled.

“Mom always gave her babies sugar for hiccups.”

For a while she simply put her head back.

Lesley’s eyes kept traveling to the instrument tray with its shining array of scalpels, retractors, scissors, catgut, sponges, needles and other necessary paraphernalia, when Dr. Carter held out this hand and said in a measured voice, “Scalpel, Nurse.”

“Of course I will, Stan. And listen, just for the record, I don’t hate you.”

She was dressed in a red butcher-linen dress, pearl beads and earrings, and wore a pearl bracelet on each arm.

She said, “There are three things in this world I like: men, painting and music, and in that order.”

Rememory installation, objects, abandoned houses, Rememory 1990-2000(rememory, place)

“Someday you be walking down the road and you hear something or see something going on. So clear. And you think it’s you thinking it up. A thought picture. But no. It’s when you bump into a rememory that belongs to somebody else. Where I was before I came here, that place is real. It’s never going away. Even if the whole farm-every tree and grass blade of it dies. The picture is still there and what’s more, if you go there-you who never was there-if you go there and stand in the place where it was, it will happen again; it will be there for you, waiting for you.” Beloved Toni Morrison, 1987

Affectionate Objects painting, paper, found objects, set of 5, Rememory 1990-2000 (rememory, place)

Artifact from a fictious past. Everything is alive and must be fed.

“This wallpaper has a kind of sub-pattern in a different shade, a particularly irritating one, for you can only see it in certain lights, and not clearly then. But in the places where it isn’t faded and where the sun is just so-I can see a strange, provoking, formless sort of figure, that seems to skulk about behind that silly conspicuous front design.” The Yellow Wallpaper Charlotte Perkins Gilman, 1892