This collection of artwork explores the notion of family. The portraits of women were inspired by a photograph of my maternal great-grandmother and are named with the first or middle names of my grandmothers, HARRIET . The fiber art pieces represent the characters of my mother, father, and sister. I include myself as well in KIMBERLY’S VALLEY .
The encaustic works use minimalist figures to represent forms of life. The color encaustics share a family of marks that explore transparency, counting, and the arc of a celestial body, TRANSLUCENT MOON . The series titled NO ON PROP 8 was made in response to the anti-gay marriage proposition passed in California. DATE NIGHT brings up our desire to couple, as well as our need to continue a romance after marriage and family. Methods are married and images and ideas couple across media.
There is a correlation between the scape-ness of the abstracts that are made with paint, UPRISING and the scapes that come together by stitching together strips of fabric. Actual stitching in fiber art becomes metaphoric in the abstract painting, STITCHED IN TIME . I began working with the slash, or line, after using blades of grass as relief objects in the intaglio prints SHIPWRECKED CRYSTALS and NO ON SB 1070 . With INCEPTION , I use a single line to indicate the beginning of life.
Methods and materials from one medium give birth to a new combination of figures in another. The pieces entitled MY PAGER’S IN MY OTHER PANTS are children of a sketch I began working with in 1998 . In turn, those figures are parents of the series, AUTOPOIIESIS . They have found their way into NO ON PROP 8, DATE NIGHT, and more subtly but significantly into BREE’S PARTY and CHUCK’S OUTLOOK . I work serially because it offers possibilities for making family.
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