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The "landscape" is the metaphor. The work is in progress and it points to a task that is never finished...  The poet as citizen speaks and stands alone, assuming responsibility for that vision for better or worse. Since all works of art are autobiographical in some way, my history is inevitably integrated into my work whether it is evident or not.  My body, mind and history are located in the work and the work is a trigger and a vehicle allowing me to share my concerns with others. The sharing is the gift. My expectation is that the work reflects my struggle to make sense of life and the world. The artist is always naked in public, with no place to hide. Philosophy and archaeology interest me greatly, as well as entropy, memory and transformation.  My work is part of a process of change and continuity, within a context of time that is much larger than myself. I believe that true knowledge is a result of human experience. Observation and negotiation of daily experience in relation to history, memory and the real, is important in my work. I work with a multiplicity of materials and means.  Paper and particularly newspaper, has been important in many of my pieces, due to its source, the tree. Alive or dead, present or absent, the tree is significant in connection with human evolution and development. Stones are also important in my work. I have collaborated with an archeologist doing research for an ongoing project documenting megalithic stones in Portugal, while photographing women residing in areas surrounding the sites. Drawing for me is also 3 dimensional and can incorporate various materials such as cloth or wire, either still or in motion, slicing through space.  Many of my projects are developed over time, resulting in various series. Writing is an integral part of the work or is a parallel process.