Artist Statement
Why “The Laboratory?”
I chose the title “The Laboratory” for this exhibition as a way of encompassing the various bodies of work displayed in the show and to illustrate my growing fascination with science, a direction I plan to continue in my work. I find inspiration in the visuals of scientific exploration, i.e. maps, beakers, specimens, and in the methodologies, such as the Scientific Method. I am dedicated to relearning and expanding my scientific knowledge of the world, because I understand the important role it plays in the advancement and sustainability of our society. One way I accomplish this is by listening to science-based podcasts while I paint: The Skeptics Guide to the Universe, RadioLab, and a series by Studio 360 on “Science and Creativity,” among many others. My work uses color and ornamentation to entice the viewer to explore an image that they might normally find disturbing. The images are my way of processing the world around me, one in which science and the arts are increasingly pushed aside for alternative modes of thought, and I find the results can be unsettling and potentially destructive. I understand that science is not without its mistakes throughout history, but it is a way of thinking that is constantly striving for advancement through knowledge, something I try to do in my own way with my art.
Vivarium Series
This body of work became known as The Vivarium Series, because “Vivarium” is Latin for “place of life” or “container of life.” These transparent containers allow me to explore diverging environments and their inhabitants, by contrasting the contents inside with the surrounding space. I wanted the Vivarium Series to evolve in two directions: one with human children in open containers and one with dolls in closed containers. The open containers suggest vulnerability. Just because the children are currently protected, does not mean they are forever. The interiors of these containers usually include a garden space, while the exterior environments illustrate toxic wastelands or altered climates. I wanted the children in these paintings to be young people I know, because this spoke to my fears about the state of the environment and the world these children will inherit. The inhabitants of the closed containers are trapped in an inhospitable environment, and the dolls serve as surrogates showing the abuse and neglect of children.
The most recent piece in the series is Bounce. There are seven containers; six are filled with dancing pickled punks. The ‘carny’ term “pickled punks” refers to fetuses preserved in jars of formaldehyde and were often used as sideshow attractions. Faked pickled punks, made from rubber or wax, are known as “bouncers” for their tendency to bounce when dropped on the floor. The empty jar suggests that one of the fetuses has escaped, or bounced out of the container. This symbolism suggests a new direction for future pieces, one without defined spaces or contained environments.
Orno In Vitro Installation
“Orno In Vitro” translates to “to adorn” “within the glass” in Latin. The starting point for this series was inspired by the size and shape of Petri dishes. Each dish contains an “organism” or medallion created by enhancing the random shapes found in sheets of variegated gold foil, and the exterior spaces are filled with a variety of decorative patterns. I am particularly drawn to the way traditional Japanese artists used the Kimono layers to overlap bold and contrasting patterns, an effect I also see in thrift stores. Each pattern translates as a personality, and I feel the installation reads as a city or community filled with different personalities that all have a common element within.
Female Feline Portraits (FeFes)
These portraits combine the women I have photographed with feline features in the tradition of folktales and folklore. The anthropomorphic characters hold a lot of symbolism both in terms of historical references and personal metaphors. I also live with four cats and volunteer at a local animal shelter every week, so I am constantly observing feline mannerisms and textures. Sometimes I think it is easier for people to connect or identify with an animal character rather than a human, because of the many social constraints, stigmas or preconceived stereotypes. I believe that fairytale/folktale writers knew this to be true and used animals to communicate with a wider audience. The titles reference goddesses from various regions. For example, “Mafdet,” is a goddess from early Egyptian mythology who protected against snakes and scorpions.