Artist Statement

My conceptual artworks address contemporary social and political issues affecting global societies.  As our world changes at a dizzying pace, I examine the consequences of rapid technological advancement, governmental policy changes, gender roles, reproductive rights, immigration experiences, and for some comic relief, pop culture icons.  Combining exhaustive research with the use of unconventional materials in my assemblages, I challenge the viewer to consider the historical significance and future implications of changing governmental policy whiplash to our global populations and to our planet. My work is observational in nature and takes a broad view approach.  I reference ancient history, Greek mythology, scientific research, and art history to compose pieces that reach back to the origins of these contemporary issues and follow them through history to show if or how society has progressed. Through my research and creative process, I’ve determined that, more often than not, history is doomed to repeat itself and human nature does not change. These truths are evident in my pieces on climate change and women’s reproductive rights.  My concern over the effects of the rapidly developing technology industry on the Bay Area is evident in my series “5G_Gentrification” and “tech...tech...tech...BoOM!”  The basis for these works began with “War Horse 2020”, my take on a modern day Trojan Horse presented to America by Russia through its interference in our elections and social media.  How technology influences our physical and social interactions, and the Wild West approach to the regulation of this technological revolution is a main focus of my work.  But to prove I do have a sense of humor about this self-obsessed reality we live in, I present the series, “KLUCKED!”, a low brow pop surrealism troll or tribute offering of pop culture icons imagined as ornamental chickens. Recycling and repurposing often damaged materials is important to me, and by giving new life to what would be landfill fodder, there is a “wabi-sabi” aesthetic to my work. Because many of the materials have been used before, my pieces have a prior history, a sense of transience, and an appreciation of the imperfect. This brings us back to the recurring themes of time, history, struggle, and the eventual progression to a new level of awareness of our personal and societal responsibilities to our brethren and to the planet.