video, installation, painting, and sculptural objects



my works are physical and conceptual, mixed media assemblages that stem from a lifetime of assimilating different cultures, people, and places.  i have lived in 22 different homes.  these nomadic roots impart a feeling of not belonging anywhere and can leave you adrift, but they also can instill a great sense of being unencumbered, a lightness of spirit.  through my work i explore issues of "being" - man's relation to contemporary society and the natural world.  i find the need to belong, to be part of a family, society, or group, and the coincident state of being caught in its web, intriguing.  i view my own life as a balancing act, a lifelong struggle to maintain my freedom while accepting certain terms of confinement.

my work accesses memory, and an image world sometimes buried deep with in. the work is based on enclosures, concrete or abstract, realized through video, installation, woven wire shapes and forms, or two‐dimensional line drawings.  one can consider them home or prison, they are suspended structures, buildings, cages, hooks and cables, vessels, nests and wombs.  each work is approached completely hands on.  materials are of prime importance. the correct material used to achieve the expressive quality i want, is a discovery made only within the process.  materials such as rubber, tar, wire, silk, cardboard, rainspouts, flowers, or dead insects, as well as electronic media such as video, audio, or lighting, and sometimes the collaboration of hundreds of people on one work, have been used.  all have given form to my personal stories of love and commitment, beauty, power and control, the mentality of the herd, and other private or public varieties of consensual entrapment.

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my most recent project explores beauty and decay.  i currently reside in miami. our backyards and neighborhood roadsides have a flourish of beautiful flowers, leaves, weeds, and such.  i collect them, dry them, and fix them to a composition. these works are in constant transition.  their dried muted colors will continue to evolve, changing the work, aging it to different subtle beauty.  a photograph is adhered to the reverse side as a document to the work's beginnings.  these "de‐compositions" are an abstract yet tangible witness of the fragile states of youth and beauty, fleeting conditions that exert a powerful influence over contemporary existence.