With a frugality of means, in spontaneous activity and ceremonial acts, often on and through my own body, I seek to engage with my immediate environment, and to find moments of abandon and of connection.
Digging myself into my own garden, braiding the weeds of an abandoned city lot, walking through city streets dragging a chain of local cacti – these are the kernels of my attachment, the non-heroic and transitory materials and actions through which, at any given moment, I may discover ways to feel ‘at home’ in the world.
In more recent years I have returned to my strong connection to drawing and mark-making and have incorporated these two interests, often creating large site-specific or gallery-based wall drawings, responding to the space and the specific characteristics of the wall.
The activity is often ‘nothing special’, a framing and heightening of the ordinary.
Driven by an abiding yearning for an experience of the immediacy of place, and for ways to relay this experience, my practice developed gradually from traditional art-making to more ephemeral forms of art. While propelled by my own eclectic philosophical interests and artistic investigations, it connects in theory and practice to various mid-20th century movements (such as Land Art, Body Art, Process Art, Feminist Art); it is also influenced by Zen and other Eastern philosophical-aesthetic views; and is informed by current practices in site and durational performance, psycho-geography, environmental art and readings in ecology.
I perform similar activities in different locations, using locally gathered materials. Depending on the physical, social, historical and personal context of the site, these take on different meaning and reverberations. My activity, my art practice is local yet at the same time imbued with a constant awareness of its relationship to the larger context of our fragile existence on this planet, with a need to reaffirm the primal facts, to recover perhaps a few of the unraveling threads of our interconnection.