Carolyn Lavender

Predator- Prey, 2017. acrylic, graphite prepared archival foam core panels. 80 x 87"

The Woods are populated with taxidermy animals that are inserted into the scene. Both the backdrop and animals are from original photography. There is often a personal memory of the photo locations of the taxidermy. The mountain lion came from an antique store in Phoenix. The woods were photographed in Washington State. In this piece there is a predator-prey relationship. 

Predator- Prey, 2017. acrylic, graphite prepared archival foam core panels. 80 x 87"

The Woods are populated with taxidermy animals that are inserted into the scene. Both the backdrop and animals are from original photography. There is often a personal memory of the photo locations of the taxidermy. The mountain lion came from an antique store in Phoenix. The woods were photographed in Washington State. In this piece there is a predator-prey relationship. 

Predator- Prey, 2017. acrylic, graphite prepared archival foam core panels. 80 x 87" Tikkun Olam II exhibition, Cutler Plotkin Jewish Heritage Center, Phoenix AZ.

The Woods are populated with taxidermy animals that are inserted into the scene. Both the backdrop and animals are from original photography. There is often a personal memory of the photo locations of the taxidermy. The mountain lion came from an antique store in Phoenix. The woods were photographed in Washington State. In this piece there is a predator-prey relationship. 

Urban Yard Nature, 2017 collected natural objects in 18 spice jars. 4 1/2 by 37" 

These 18 spice jars contain natural specimens collected in my Central Phoenix yard. It is natural for me to collect these types of things and I have been doing it for years. My yard is a Certified Wildlife Habitat, along with a posted sign. This self-certification can be done by anyone through the National Wildlife Federation. This has guided my husband and I in how we have managed our lot through the years. It is a commitment to provide food, water, cover, places to raise young, and sustainable practices. In our case, food is provided through plant diversity and water is a birdbath. The jars contain a variety of things including dead insects, birds, and a rat, but they represent the abundance of life that can happen on a single lot. 

Urban Yard Nature, 2017 collected natural objects in 18 spice jars. 4 1/2 by 37" (detail)

These spice jars contain natural specimens collected in my Central Phoenix yard. It is natural for me to collect these types of things and I have been doing it for years. My yard is a Certified Wildlife Habitat, along with a posted sign. This self-certification can be done by anyone through the National Wildlife Federation. This has guided my husband and I in how we have managed our lot through the years. It is a commitment to provide food, water, cover, places to raise young, and sustainable practices. In our case, food is provided through plant diversity and water is a birdbath. The jars contain a variety of things including dead insects, birds, and a rat, but they represent the abundance of life that can happen on a single lot. 

Urban Yard Nature, 2017 collected natural objects in 18 spice jars. 4 1/2 by 37" 

These 18 spice jars contain natural specimens collected in my Central Phoenix yard. It is natural for me to collect these types of things and I have been doing it for years. My yard is a Certified Wildlife Habitat, along with a posted sign. This self-certification can be done by anyone through the National Wildlife Federation. This has guided my husband and I in how we have managed our lot through the years. It is a commitment to provide food, water, cover, places to raise young, and sustainable practices. In our case, food is provided through plant diversity and water is a birdbath. The jars contain a variety of things including dead insects, birds, and a rat, but they represent the abundance of life that can happen on a single lot. 

Untitled (sticks), 2017 sticks from yard pruning on metal grate. 42 1/2" wide.

This installation of sticks represents things happening in my yard. This is where I do a large amount of composting and have arrangements of sticks that provide cover for insects and lizards. Traditional yards often use pesticides, insecticides, and chemical fertilizers along with an excessive tidiness that treats leaves, branches and grass clippings as trash. Topsoil, usually 2 to 8 inches, is a concentration of organic matter that provides necessary fertility. When topsoil is depleted and abused the microbial life sinks deeper underground. Often we simply need to allow what happens naturally to happen. As an artist I am usually trying to create things that are stabile and will last, but much of what I do in the yard is facilitating the disappearance of natural materials through composting. The sticks, which come from yard pruning, are a re-creation of a mound I created a few years back. It is habitat and outdoor sculpture, while composting slowly. This piece will be transferred to the yard after the exhibition to start its slow deconstruction.

Preservation Woods, 2015  acrylic, graphite on prepared archival foam core panels. 80 x 160"

The woods are populated with taxidermy animals that are inserted into the scene. Both the backdrop and the animals are from original photography. There is a personal connection to each image and memory of photo locations. The woods were photographed in Stehekin, Washington while the white deer came from a frame shop in Tempe, AZ. The zebra was found in a bar in Florence, AZ and the Jacob ram was in a hair salon in downtown Phoenix.

Preservation Woods, 2015  acrylic, graphite on prepared archival foam core panels. 80 x 160" Installation view, Arizona Biennial, Tucson Museum of Art, 2015

The woods are populated with taxidermy animals that are inserted into the scene. Both the backdrop and the animals are from original photography. There is a personal connection to each image and memory of photo locations. The woods were photographed in Stehekin, Washington while the white deer came from a frame shop in Tempe, AZ. The zebra was found in a bar in Florence, AZ and the Jacob ram was in a hair salon in downtown Phoenix.

Preservation Woods, (detail) 2015  acrylic, graphite on prepared archival foam core panels. 80 x 160"

The woods are populated with taxidermy animals that are inserted into the scene. Both the backdrop and the animals are from original photography. There is a personal connection to each image and memory of photo locations. The woods were photographed in Stehekin, Washington while the Jacob ram was in a hair salon in downtown Phoenix.

Bear- Bear 2, 2016. graphite, acrylic on prepared paper. 17 x 17"

This series pairs an animal with a matching animal object. The bear on the left I photographed at World Wildlife Zoo, Litchfield Park, AZ,  and the object I own. The drawings play with real and fake along with revealing a sentimental possession of objects which function as surrogates. We have a desire for animals to be in our life whether they are wild, in captivity, taxidermy or represented as objects or mascots.

Wolf- Wolf, 2016. graphite, acrylic on prepared paper. 14 x 20"

This series pairs an animal with a matching animal object. The wolf on the right I photographed at the Phoenix Zoo, and the other is an object I own. The drawings play with real and fake along with revealing a sentimental possession of objects which function as surrogates. We have a desire for animals to be in our life whether they are wild, in captivity, taxidermy or represented as objects or mascots.

Rhino- Rhino, 2015  graphite, acrylic on prepared paper. 15 x 20"

This series pairs an animal with a matching animal object. The Rhino I photographed at the Phoenix Zoo, and the other is an object I own. The drawings play with real and fake along with revealing a sentimental possession of objects which function as surrogates. We have a desire for animals to be in our life whether they are wild, in captivity, taxidermy or represented as objects or mascots.

Lemur- Lemur, 2016. graphite, acrylic on prepared paper. 12 x 12"

This series pairs an animal with a matching animal object. The lemur on the right I photographed at the Wildlife World Zoo in Litchfield Park, AZ, and the other is an object I own. The drawings play with real and fake along with revealing a sentimental possession of objects which function as surrogates. We have a desire for animals to be in our life whether they are wild, in captivity, taxidermy or represented as objects or mascots.

Otter- Otter, 2016. graphite, acrylic on prepared paper. 12 x 12"

This series pairs an animal with a matching animal object. The otter on the left I photographed at the Phoenix Zoo, and the other is an object I own. The drawings play with real and fake along with revealing a sentimental possession of objects which function as surrogates. We have a desire for animals to be in our life whether they are wild, in captivity, taxidermy or represented as objects or mascots.

Jaguar- Jaguar 2, 2015. graphite, acrylic on prepared canvas panel. 12 x 12"

This series pairs an animal with a matching animal object. The jaguar on the right I photographed at the Phoenix Zoo, and the other is an object I own. The drawings play with real and fake along with revealing a sentimental possession of objects which function as surrogates. We have a desire for animals to be in our life whether they are wild, in captivity, taxidermy or represented as objects or mascots.

Baboon- Baboon, 2014. graphite, acrylic on prepared canvas panel. 12 x 12"

This series pairs an animal with a matching animal object. The baboon on the right I photographed at the Phoenix Zoo, and the other is an object I own. The drawings play with real and fake along with revealing a sentimental possession of objects which function as surrogates. We have a desire for animals to be in our life whether they are wild, in captivity, taxidermy or represented as objects or mascots.

Monkey- Monkey, 2015. graphite, acrylic on canvas panel. 8 x 8"

This series pairs an animal with a matching animal object. The monkey I photographed at the Phoenix Zoo, and the other is an object I own. The drawings play with real and fake along with revealing a sentimental possession of objects which function as surrogates. We have a desire for animals to be in our life whether they are wild, in captivity, taxidermy or represented as objects or mascots.

Stehekin Deer- Breyer Deer, 2013

This series pairs an animal or animals with a matching animal object.  I photographed the deer in Stehekin Washington, and the object I own. The drawings play with real and fake along with revealing a sentimental possession of objects which function as surrogates. We have a desire for animals to be in our life whether they are wild, in captivity, taxidermy or represented as objects or mascots.

Jaguar- Jaguar 1, 2014. graphite, acrylic on prepared canvas panel. 8 x 15"

This series pairs an animal with a matching animal object. The jaguar on the right I photographed at Woodland Park Zoo in Seattle, and the other is an object I own. The drawings play with real and fake along with revealing a sentimental possession of objects which function as surrogates. We have a desire for animals to be in our life whether they are wild, in captivity, taxidermy or represented as objects or mascots.

Bear- Bear 1, 2013. graphite, acrylic on prepared canvas panel. 12 x 12"

This series pairs an animal with a matching animal object. The bear on the left I photographed at the Woodland Park Zoo in Seattle, and the other is an object I own. The drawings play with real and fake along with revealing a sentimental possession of objects which function as surrogates. We have a desire for animals to be in our life whether they are wild, in captivity, taxidermy or represented as objects or mascots.

The Woods- Fabrication/Bears, 2014.  graphite, acrylic on prepared paper. 11 x 30"

The bear objects are personal possessions that refer to my attraction to animal forms, even small collectible objects. Somewhat the way society increasingly surrounds itself with synthetic animal portrayals. The disconnection created as more people live in cities, and there is less nature in the world. The woods are Stehekin, Washington, a place that my sister and I have spent time together.

Bear Gifts, 2012. graphite on prepared paper. 8 x 11"

My sister gave me the sitting bear, made of flocked ceramic, when I was 2 or 3 years old.  It was purchased in a gift shop in Yellowstone Park during a family vacation.  Then in 2011, my sister called me to tell me that she was in that very gift shop, 50 years later, and was buying the current version of a souvenir bear object.  That is the walking bear, made of plastic, still wearing its made in Germany sticker.  The woods are in Stehekin, Washington, a place that my sister and I have spent time together.  We even encountered a wild bear while hiking there.  The drawing combines silly and serious, and references loss of wild places. 

The Woods- Fabrication, 2012.  graphite on prepared paper. 11 x 30"

This drawing portrays animal figurines in a wooded setting, and these objects are stand-ins for the real thing. I find humor in the fact that I am attracted to these objects as a substitute for the real thing. The objects are personal possessions that have sentimental connections. The ceramic turtle was a gift from a great grandmother, the cat was inherited from another grandmother, and the squirrel nutcracker was a gift during an artist residency. Also included is a wooden male figure, which was hand-carved by the my father. The woods are drawn from my snapshots of Stehekin Washington, a place I have a personal connection to. These objects, placed in the woods, emphasize society’s expanding disconnection from the natural world.   

The Woods- Preservation, 2011.  graphite on prepared paper. 24 x 40"

The woods are populated with taxidermy animals that are inserted into the scene. Both the backdrop and the animals are from original photography. There is a personal connection to each image and memory of photo locations. The woods were photographed in Stehekin, Washington while the Bison came from a sports bar in Phoenix. The moose is from El Tovar at the south rim of the Grand Canyon, the deer mount from a Seattle antique shop, and the beaver from forest service building in Stehekin, Washington. 

The Woods, 2009. graphite on prepared wooden panel. 24 x 54"

This drawing is a fictional scene representing the suicide of someone I met once. The fact that this woman chose to go to the woods for site of her death filled my head with repeating thoughts and images.  This was due to the act, but also due to the fact that I spent my childhood in the NW where I was never far from a body of woods.  We even had a section behind our house that I could, and did, enter regularly. So with this suicide it seemed like she had gone home to mother nature. Almost like entering the woods is a version of re-entering the womb. I chose to populate my imagined scene with a large number of animals to represent the imprinting that her death created in the particular location. The woman is not represented but the animals are drawn by curiosity to something that they can feel.  There are 50 birds, animals, and reptiles within the scene. 

Narrative: Within a few days she bought a gun, made some positive phone calls, and left her dog with a friend. She parked at the trailhead, walked three miles, and then another mile off the trail. Her body was not found for weeks. 

The Woods, 2009. (detail) graphite on prepared wooden panel. 24 x 54"

This drawing is a fictional scene representing the suicide of someone I met once. The fact that this woman chose to go to the woods for site of her death filled my head with repeating thoughts and images.  This was due to the act, but also due to the fact that I spent my childhood in the NW where I was never far from a body of woods.  We even had a section behind our house that I could, and did, enter regularly. So with this suicide it seemed like she had gone home to mother nature. Almost like entering the woods is a version of re-entering the womb. I chose to populate my imagined scene with a large number of animals to represent the imprinting that her death created in the particular location. The woman is not represented but the animals are drawn by curiosity to something that they can feel.  There are 50 birds, animals, and reptiles within the scene. 

Narrative: Within a few days she bought a gun, made some positive phone calls, and left her dog with a friend. She parked at the trailhead, walked three miles, and then another mile off the trail. Her body was not found for weeks. 

Urban Water, video still, 2012. Video shot with home security motion activated camera. 45 min's. 

Urban Water was shot with a motion activated home security camera in my central Phoenix front yard. Inspired by wildlife trap cameras, I wanted to capture the wild life contained within a city lot. The wildlife is attracted to our yard by the regular source of water and the food and shelter provided by the diversity of plants and trees in our yard. Other than that, we do not feed the birds. The cats were feral and also not fed by us. We would see cats on a regular basis, but it is a tough life for these cats and they didn't seem to last more that 6 months to a year. At the time of this video, a large black cat was spending a lot of his time in our yard. Within a day of disconnecting the camera his body was found in a ditch behind our house. He appeared to have been hit by a car. My husband and I buried him in the front yard. One my favorite birds during the time of the video was a large baby grackle who was spending a lot of time at the water dish. I stopped seeing him suddenly and it is possible the black cat killed him. This water dish is visible from our front porch and living room window, but the camera allows a proximity that would not be allowed, even by birds conditioned to city life.  

Urban Water, video still, 2012. Video shot with home security motion activated camera. 45 min's. 

Urban Water was shot with a motion activated home security camera in my central Phoenix front yard. Inspired by wildlife trap cameras, I wanted to capture the wild life contained within a city lot. The wildlife is attracted to our yard by the regular source of water and the food and shelter provided by the diversity of plants and trees in our yard. Other than that, we do not feed the birds. The cats were feral and also not fed by us. We would see cats on a regular basis, but it is a tough life for these cats and they didn't seem to last more that 6 months to a year. At the time of this video, a large black cat was spending a lot of his time in our yard. Within a day of disconnecting the camera his body was found in a ditch behind our house. He appeared to have been hit by a car. My husband and I buried him in the front yard. One my favorite birds during the time of the video was a large baby grackle who was spending a lot of time at the water dish. I stopped seeing him suddenly and it is possible the black cat killed him. This water dish is visible from our front porch and living room window, but the camera allows a proximity that would not be allowed, even by birds conditioned to city life.  

Urban Water, video still, 2012. Video shot with home security motion activated camera. 45 min's. 

Urban Water was shot with a motion activated home security camera in my central Phoenix front yard. Inspired by wildlife trap cameras, I wanted to capture the wild life contained within a city lot. The wildlife is attracted to our yard by the regular source of water and the food and shelter provided by the diversity of plants and trees in our yard. Other than that, we do not feed the birds. The cats were feral and also not fed by us. We would see cats on a regular basis, but it is a tough life for these cats and they didn't seem to last more that 6 months to a year. At the time of this video, a large black cat was spending a lot of his time in our yard. Within a day of disconnecting the camera his body was found in a ditch behind our house. He appeared to have been hit by a car. My husband and I buried him in the front yard. One my favorite birds during the time of the video was a large baby grackle who was spending a lot of time at the water dish. I stopped seeing him suddenly and it is possible the black cat killed him. This water dish is visible from our front porch and living room window, but the camera allows a proximity that would not be allowed, even by birds conditioned to city life.  

Urban Water, video still, 2012. Video shot with home security motion activated camera. 45 min's. 

Urban Water was shot with a motion activated home security camera in my central Phoenix front yard. Inspired by wildlife trap cameras, I wanted to capture the wild life contained within a city lot. The wildlife is attracted to our yard by the regular source of water and the food and shelter provided by the diversity of plants and trees in our yard. Other than that, we do not feed the birds. The cats were feral and also not fed by us. We would see cats on a regular basis, but it is a tough life for these cats and they didn't seem to last more that 6 months to a year. At the time of this video, a large black cat was spending a lot of his time in our yard. Within a day of disconnecting the camera his body was found in a ditch behind our house. He appeared to have been hit by a car. My husband and I buried him in the front yard. One my favorite birds during the time of the video was a large baby grackle who was spending a lot of time at the water dish. I stopped seeing him suddenly and it is possible the black cat killed him. This water dish is visible from our front porch and living room window, but the camera allows a proximity that would not be allowed, even by birds conditioned to city life.  

Portrait, 2011.  graphite, gouache on prepared canvas. 45 1/2 x 86"

 Portrait is a grid-based drawing comprised of two hundred 4” portraits of animals.  The 85” wide drawing is done on a single piece of stretched canvas.  It is my intention that the animals get the same respect as people.  That is why, in Portrait, I rendered them accurately so that they are portraits of each individual animal.  Each animal is making eye contact with the viewer the way people do in yearbook photos.  When you stand in front of the piece there are 200 pairs of eyes. 

Portrait, 2011.  graphite, gouache on prepared canvas. 45 1/2 x 86"

 Portrait is a grid-based drawing comprised of two hundred 4” portraits of animals.  The 85” wide drawing is done on a single piece of stretched canvas.  It is my intention that the animals get the same respect as people.  That is why, in Portrait, I rendered them accurately so that they are portraits of each individual animal.  Each animal is making eye contact with the viewer the way people do in yearbook photos.  When you stand in front of the piece there are 200 pairs of eyes. 

Portrait, 2011.  graphite, gouache on prepared canvas. 45 1/2 x 86"

 Portrait is a grid-based drawing comprised of two hundred 4” portraits of animals.  The 85” wide drawing is done on a single piece of stretched canvas.  It is my intention that the animals get the same respect as people.  That is why, in Portrait, I rendered them accurately so that they are portraits of each individual animal.  Each animal is making eye contact with the viewer the way people do in yearbook photos.  When you stand in front of the piece there are 200 pairs of eyes. 

Most Striking Characteristics 1, 2006. gouache, acrylic, xerox on paper. 12 x 9"

For these collage/paintings I used a Xerox machine to re-size the animals to a similar scale and stacked them totem like. I was raised in the Seattle area and was exposed a number of totem poles. I always thought Washington State Native Americans made them, but in fact Alaska and Canadian tribes produced them.  Here I am playing with their forms without any deep totem significance. For the title, I used one of the dictionary definitions for profile. 

Most Striking Characteristics 2, 2006. gouache, acrylic, xerox on paper. 12 x 9"

For these collage/paintings I used a Xerox machine to re-size the animals to a similar scale and stacked them totem like. I was raised in the Seattle area and was exposed a number of totem poles. I always thought Washington State Native Americans made them, but in fact Alaska and Canadian tribes produced them.  Here I am playing with their forms without any deep totem significance. For the title, I used one of the dictionary definitions for profile. 

Most Striking Characteristics 3, 2006. gouache, acrylic, xerox on paper. 12 x 9"

For these collage/paintings I used a Xerox machine to re-size the animals to a similar scale and stacked them totem like. I was raised in the Seattle area and was exposed a number of totem poles. I always thought Washington State Native Americans made them, but in fact Alaska and Canadian tribes produced them.  Here I am playing with their forms without any deep totem significance. For the title, I used one of the dictionary definitions for profile. 

Most Striking Characteristics 4, 2006. gouache, acrylic, xerox on paper. 12 x 9"

For these collage/paintings I used a Xerox machine to re-size the animals to a similar scale and stacked them totem like. I was raised in the Seattle area and was exposed a number of totem poles. I always thought Washington State Native Americans made them, but in fact Alaska and Canadian tribes produced them.  Here I am playing with their forms without any deep totem significance. For the title, I used one of the dictionary definitions for profile. 

Most Striking Characteristics 6, 2006. gouache, acrylic, xerox on paper. 12 x 9"

For these collage/paintings I used a Xerox machine to re-size the animals to a similar scale and stacked them totem like. I was raised in the Seattle area and was exposed a number of totem poles. I always thought Washington State Native Americans made them, but in fact Alaska and Canadian tribes produced them.  Here I am playing with their forms without any deep totem significance. For the title, I used one of the dictionary definitions for profile. 

Most Striking Characteristics 1, 2006. gouache, acrylic, xerox on paper. 12 x 9"

For these collage/paintings I used a Xerox machine to re-size the animals to a similar scale and stacked them totem like. I was raised in the Seattle area and was exposed a number of totem poles. I always thought Washington State Native Americans made them, but in fact Alaska and Canadian tribes produced them.  Here I am playing with their forms without any deep totem significance. For the title, I used one of the dictionary definitions for profile. 

Most Striking Characteristics 8, 2006. gouache, acrylic, xerox on paper. 12 x 9"

For these collage/paintings I used a Xerox machine to re-size the animals to a similar scale and stacked them totem like. I was raised in the Seattle area and was exposed a number of totem poles. I always thought Washington State Native Americans made them, but in fact Alaska and Canadian tribes produced them.  Here I am playing with their forms without any deep totem significance. For the title, I used one of the dictionary definitions for profile. 

Most Striking Characteristics 9, 2006. gouache, acrylic, xerox on paper. 12 x 9"

For these collage/paintings I used a Xerox machine to re-size the animals to a similar scale and stacked them totem like. I was raised in the Seattle area and was exposed a number of totem poles. I always thought Washington State Native Americans made them, but in fact Alaska and Canadian tribes produced them.  Here I am playing with their forms without any deep totem significance. For the title, I used one of the dictionary definitions for profile. 

Untitled, 2003.  gouache, sumi ink, graphite, acrylic on 33 rag board panels. 112 x 202"

After a couple years of doing self-portraits I introduced animals by wearing them in a hat-like fashion. Possible interpretations such as spirit animals, totems, hunting trophies, and exploitation are open to the viewer. In wanting to give voice to the animals it seemed my image was more interesting when topped with an animal, and the animal was more interesting than if alone. 

Untitled, installation view, 2003.  gouache, sumi ink, graphite, acrylic on 33 rag board panels. 112 x 202"  Willo North Gallery, Phoenix. 

After a couple years of doing self-portraits, I introduced animals by wearing them in a hat-like fashion. Possible interpretations such as spirit animals, totems, hunting trophies, and exploitation are open to the viewer. In wanting to give voice to the animals it seemed my image was more interesting when topped with an animal, and the animal was more interesting than if alone. 

Untitled, (detail) 2003.  gouache, sumi ink, graphite, acrylic on 33 rag board panels. 112 x 202" individual panels- 22 x 30"

After a couple years of doing self-portraits I introduced animals by wearing them in a hat-like fashion. Possible interpretations such as spirit animals, totems, hunting trophies, and exploitation are open to the viewer. In wanting to give voice to the animals it seemed my image was more interesting when topped with an animal, and the animal was more interesting than if alone. 

Untitled, (detail) 2003.  gouache, sumi ink, graphite, acrylic on 33 rag board panels. 112 x 202" individual panels- 22 x 30"

After a couple years of doing self-portraits I introduced animals by wearing them in a hat-like fashion. Possible interpretations such as spirit animals, totems, hunting trophies, and exploitation are open to the viewer. In wanting to give voice to the animals it seemed my image was more interesting when topped with an animal, and the animal was more interesting than if alone. 

Untitled, (detail) 2003.  gouache, sumi ink, graphite, acrylic on 33 rag board panels. 112 x 202" individual panels- 22 x 30"

After a couple years of doing self-portraits I introduced animals by wearing them in a hat-like fashion. Possible interpretations such as spirit animals, totems, hunting trophies, and exploitation are open to the viewer. In wanting to give voice to the animals it seemed my image was more interesting when topped with an animal, and the animal was more interesting than if alone. 

Untitled, (detail) 2003.  gouache, sumi ink, graphite, acrylic on 33 rag board panels. 112 x 202" individual panels- 22 x 30"

After a couple years of doing self-portraits I introduced animals by wearing them in a hat-like fashion. Possible interpretations such as spirit animals, totems, hunting trophies, and exploitation are open to the viewer. In wanting to give voice to the animals it seemed my image was more interesting when topped with an animal, and the animal was more interesting than if alone. 

Untitled, (detail) 2003.  gouache, sumi ink, graphite, acrylic on 33 rag board panels. 112 x 202" individual panels- 22 x 30"

After a couple years of doing self-portraits I introduced animals by wearing them in a hat-like fashion. Possible interpretations such as spirit animals, totems, hunting trophies, and exploitation are open to the viewer. In wanting to give voice to the animals it seemed my image was more interesting when topped with an animal, and the animal was more interesting than if alone. 

Untitled, (detail) 2003.  gouache, sumi ink, graphite, acrylic on 33 rag board panels. 112 x 202" individual panels- 22 x 30"

After a couple years of doing self-portraits I introduced animals by wearing them in a hat-like fashion. Possible interpretations such as spirit animals, totems, hunting trophies, and exploitation are open to the viewer. In wanting to give voice to the animals it seemed my image was more interesting when topped with an animal, and the animal was more interesting than if alone. 

Lion Self-Portrait, 2002. monotype  10 x 10"

After a couple years of doing self-portraits, I introduced animals by wearing them in a hat-like fashion. Possible interpretations such as spirit animals, totems, hunting trophies, and exploitation are open to the viewer. In wanting to give voice to the animals it seemed my image was more interesting when topped with an animal, and the animal was more interesting than if alone. 

Marmot Self-Portrait, 2002. monotype

After a couple years of doing self-portraits, I introduced animals by wearing them in a hat-like fashion. Possible interpretations such as spirit animals, totems, hunting trophies, and exploitation are open to the viewer. In wanting to give voice to the animals it seemed my image was more interesting when topped with an animal, and the animal was more interesting than if alone. 

Journal Series, studio installation, 2009

End view of stacked journals.

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 3, 2006  gouache, thread, ink, acrylic on canvas. 16 x 16"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 4, 2008  gouache, thread, ink, acrylic on canvas. 25 x 25"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting.

Journal 5, 2007  gouache, graphite, ink, acrylic on panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 6, 2008  acrylic on canvas. 5 x 5"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 8, 2008  gouache, graphite, ink on paper. 23 x 23"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. 

Journal 9, 2008  acrylic on canvas. 5 x 5"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 11, 2008  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 12, 2008  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 13, 2008  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 14, 2008  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 15, 2008  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 16, 2008  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 17, 2008  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 18, 2008  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 19, 2008  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 20, 2008  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 21, 2008  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 22, 2008  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 23, 2008  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 24, 2008  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 25, 2008  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 26, 2009  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 27, 2009  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 28, 2009  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 29, 2009  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 30, 2009  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 31, 2009  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 32, 2009  acrylic, graphite on canvas panel. 8 x 8"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 33, 2009  acrylic, graphite on canvas panel. 8 x 8"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 34, 2009  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 35, 2009  acrylic, graphite on canvas panel. 8 x 8"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 36, 2009  acrylic, graphite on canvas panel. 8 x 8"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 37, 2009  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 38, 2009  acrylic, graphite on canvas panel. 8 x 8"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 39, 2009  acrylic, graphite on canvas panel. 8 x 8"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 40, 2009  acrylic, graphite on canvas panel. 8 x 8"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 41, 2009  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 42, 2009  acrylic, graphite on canvas panel. 8 x 8"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 43, 2009  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 44, 2009  acrylic, graphite on canvas panel. 8 x 8"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 45, 2009  acrylic, graphite on canvas panel. 8 x 8"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 46, 2009  acrylic, graphite on canvas panel. 8 x 8"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 47, 2009  acrylic, graphite on canvas panel. 8 x 8"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 48, 2009  acrylic, graphite on canvas panel. 8 x 8"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 49, 2009  acrylic, graphite on canvas panel. 8 x 8"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 50, 2009  acrylic, graphite on canvas panel. 8 x 8"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 51, 2013  acrylic, graphite on canvas panel. 12 x 12"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. They were done as individual pieces, but are displayed in variable groupings. 

Journal 52, 2010  graphite, acrylic, marker, collage on art board. 11 x 14"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting.

Journal 53, 2010  graphite, acrylic, marker, collage on art board. 11 x 14"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. 

Journal 54, 2010  multi-block linoleum print, edition of 50. 5 x 7"

I have been journaling since age 14, with no self-imposed pressure as to how often I write. The journals are also an organized place to glue collected images and other things, and by 1992 I was collaging in them. Because the journals were not art, they were free from expectation and self-censorship. They became a valuable source of visual play and often influenced my work. In 2005 I began to illustrate collages as finished works of art. They reference the personal nature of the journals, but have been converted into the medium of drawing and painting. 

Deep Thinking, 2004  oil, 1" doors, hinges on wood panel. 55 x 45"

I created this work for the 2004 Presidential Election. This mirror self-portrait, on a wooden panel, is pierced with 99 one inch hinged doors. The viewer opens a door to reveal a crude message about the republican president. The viewer is tempted to think that there might be a different message behind one of the doors, but I am  unchanging in my opinion.

Deep Thinking, (detail) 2004  oil, 1" doors, hinges on wood panel. 55 x 45"

I created this work for the 2004 Presidential Election. This mirror self-portrait, on a wooden panel, is pierced with 99 one inch hinged doors. The viewer opens a door to reveal a crude message about the republican president. The viewer is tempted to think that there might be a different message behind one of the doors, but I am  unchanging in my opinion.

Anatomy of Polarization 1, 2004  white colored pencil, acrylic on archival digital photograph. 36 x 48"

For this project I approached strangers in public to ask them if they were a Democrat or a Republican. If willing, they picked out one of 3 neutral signs and posed for a picture. I found Democrats more receptive and had to seek out conservative areas of Phoenix to get enough Republicans for the sample of 60. The two parties are grouped separately in the order photographed. The idea is, with a large sample, you can tell the difference between Republicans and Democrats by looking at them. And of course, Republicans are on the right, and Democrats are on the left. My take-away is if you are male, wearing a print patterned shirt, you are likely a Democrat. The Republican men are wearing only stripes or solids.

Anatomy of Polarization 1 (left detail), 2004  white colored pencil, acrylic on archival digital photograph. 36 x 48"

For this project I approached strangers in public to ask them if they were a Democrat or a Republican. If willing, they picked out one of 3 neutral signs and posed for a picture. I found Democrats more receptive and had to seek out conservative areas of Phoenix to get enough Republicans for the sample of 60. The two parties are grouped separately in the order photographed. The idea is, with a large sample, you can tell the difference between Republicans and Democrats by looking at them. And of course, Republicans are on the right, and Democrats are on the left. My take-away is if you are male, wearing a print patterned shirt, you are likely a Democrat. The Republican men are wearing only stripes or solids.

Anatomy of Polarization 1 (right detail), 2004  white colored pencil, acrylic on archival digital photograph. 36 x 48"

For this project I approached strangers in public to ask them if they were a Democrat or a Republican. If willing, they picked out one of 3 neutral signs and posed for a picture. I found Democrats more receptive and had to seek out conservative areas of Phoenix to get enough Republicans for the sample of 60. The two parties are grouped separately in the order photographed. The idea is, with a large sample, you can tell the difference between Republicans and Democrats by looking at them. And of course, Republicans are on the right, and Democrats are on the left. My take-away is if you are male, wearing a print patterned shirt, you are likely a Democrat. The Republican men are wearing only stripes or solids.

Anatomy of Polarization 2, 2004 white colored pencil, acrylic on archival digital photo. 36 x 48"

Anatomy of Polarization 2 is lighthearted version that mimics the first project. This time I went to dog parks, and asked strangers about their political party. I then photographed the dog, while the owner inserted their sign of choice into the picture frame. More than one dog owner tried to tell me that the dog belonged to the opposite party, but each dog represents their owner’s politics. The take away here is that if you have a small white fluffy dog you are probably a Republican. And if you own a Rottweiler or a Pit Bull you are probably a Democrat.

Anatomy of Polarization 2 (left detail), 2004 white colored pencil, acrylic on archival digital photo. 36 x 48"

Anatomy of Polarization 2 is lighthearted version that mimics the first project. This time I went to dog parks, and asked strangers about their political party. I then photographed the dog, while the owner inserted their sign of choice into the picture frame. More than one dog owner tried to tell me that the dog belonged to the opposite party, but each dog represents their owner’s politics. The take away here is that if you have a small white fluffy dog you are probably a Republican. And if you own a Rottweiler or a Pit Bull you are probably a Democrat.

Anatomy of Polarization 2 (right detail), 2004 white colored pencil, acrylic on archival digital photo. 36 x 48"

Anatomy of Polarization 2 is lighthearted version that mimics the first project. This time I went to dog parks, and asked strangers about their political party. I then photographed the dog, while the owner inserted their sign of choice into the picture frame. More than one dog owner tried to tell me that the dog belonged to the opposite party, but each dog represents their owner’s politics. The take away here is that if you have a small white fluffy dog you are probably a Republican. And if you own a Rottweiler or a Pit Bull you are probably a Democrat.

Teacher, 2003  graphite, gouache, acrylic, oil on canvas. 45 x 50"

This piece pairs mirror self-portraits, drawn on a single piece of canvas, with declarative statements. I have been teaching most of my adult life and I am making statements about myself, and what influence I may be having on my students. –“Passionate, intense, intimidating, outspoken, flexible, creative, liberal, open-minded, encouraging, demanding, non-conventional, inspirational, compelling, not religious, and teaching your children.”

Mirror, 2002  graphite, gouache on canvas. 50 x 72"

Each of the 15 mirror self-portraits are captioned with feminist declarations. Some of which were influenced by the 9/11 terrorist attacks. 

Captions: I get to pick out my own clothes. I get to show my hair. I get to wear make-up, or not. I am married, but I choose not to wear my wedding ring. I don’t have to have children. I walk late at night by myself. Sometimes I wait on my husband, usually I don’t. For 15 years I was a role model for teenagers. My husband chose me for my independent nature.  I place animals and the natural world on the same level as people. I grew up after the pill and before HIV. I am the product of unconditional love. I get to say what I think. I am more than something for men to look at. My family is full of great female models.

Mirror (detail), 2002  graphite, gouache on canvas. 50 x 72"

Each of the 15 mirror self-portraits are captioned with feminist declarations. Some of which were influenced by the 9/11 terrorist attacks. This portrait declares, "Sometimes I wait on my husband, usually I don't"

Election 2000 7, 2001 graphite, gouache on paper. 43 x 48"

The 20 mirror drawn head, each captioned with "I still feel this way", state that I will continue to get up every day with feelings unchanged. As the title indicates, this is my intense unhappiness at the outcome of the 2000 presidential election. 

Election 2000 7 (detail), 2001 graphite, gouache on paper. 43 x 48"

The 20 mirror drawn head, each captioned with "I still feel this way", state that I will continue to get up every day with feelings unchanged. As the title indicates, this is my intense unhappiness at the outcome of the 2000 presidential election. 

Election 2000 4, 2001  intaglio. 18 x 24"

This print addresses my unhappy reaction to the 2000 presidential election. My mirror self-portrait is on an out of balance fulcrum. The bar along the top references the multiplicity of a single vote. Each square from right to left has double the lines of the previous square. The kiss prints were done directly on the plate as an act of extreme frustration and anger.

Election 2000 6, 2001  intaglio. 14 x 11"

Using the mirror self-portrait as a way to express my unhappiness regarding the 2000 presidential election, I am resting my face on an out of balance fulcrum. 

Election 2000 2, 2001  drypoint. 6 x 8"

Using my mirror self-portrait to express my unhappiness regarding the 2000 presidential election. The upside down troll doll and hearts are statements of how things are wrong. The kiss is sarcasm and anger. 

Election 2000 8, 2001  mixed media, polaroid transfer on paper. 9 x 7"

With eye liner I painted "No, I will not get over it" on my forehead and intensified the features of my face. While others wanted to move on and accept the outcome of the 2000 presidential election, I was never going to do that. 

Election 2000 9, 2001  mixed media, polaroid transfer on paper. 10 x 7"

With eye liner I painted "No, I will not get over it" on my forehead and intensified the features of my face. While others wanted to move on and accept the outcome of the 2000 presidential election, I was never going to do that. 

Election 2000 10, 2001  mixed media, polaroid transfer on paper. 8 x 6"

With eye liner I painted "No, I will not get over it" on my forehead and intensified the features of my face. While others wanted to move on and accept the outcome of the 2000 presidential election, I was never going to do that. 

Election 2000 1, 2001  mixed media on paper. 48 x 59"

The 2000 Presidential Election caused me to abruptly change my work to focus on the highly controversial event. Election 2001 was begun on the night of the Supreme Court decision that secured the election. I tore a large sheet of paper from a roll, pinned it to the wall, and wrote “Something not to be, a republican!” I then painted my face black, rolled it on the paper, which I repeated 3 more times. The next step was painting my lips white, and kissing the paper until there were 900 white kisses in regular rows across the drawing. 

A False Sense of Loveliness 1, 2001  mixed media, polaroid transfer on paper. 10 x 7"

A more subtle portrayal of my intense reaction to the 2000 presidential election, in which things are wrongly sweet.

A False Sense of Loveliness 2, 2001  mixed media, polaroid transfer on paper. 8 x 7"

A more subtle portrayal of my intense reaction to the 2000 presidential election, in which things are wrongly sweet.

A False Sense of Loveliness 3, 2001  mixed media, polaroid transfer on paper. 8 x 6"

A more subtle portrayal of my intense reaction to the 2000 presidential election, in which things are wrongly sweet.

Probably 1 (installation view), 2005  gouache, graphite, acrylic on rag board. 87 x 160" (50 units) Eye Lounge Contemporary Artspace, Phoenix 2005

The random formula combines repeated pre-determined elements and variable design choices, that were determined by shuffling a marked set of cards. There are four layers of overlapping grids of different scale. With each step a pie shaped section of the clock face, and two random squares, were selected and not worked further. The random small grey squares covered intersection points of the overall grid, except for already saved areas. The panels are in the order of completion and demonstrate a sense of time, which is reinforced by the use of a simplified clock face. 

Probably 1, 2005  gouache, graphite, acrylic on rag board. 87 x 160" (50 units)

The random formula combines repeated pre-determined elements and variable design choices, that were determined by shuffling a marked set of cards. There are four layers of overlapping grids of different scale. With each step a pie shaped section of the clock face, and two random squares, were selected and not worked further. The random small grey squares covered intersection points of the overall grid, except for already saved areas. The panels are in the order of completion and demonstrate a sense of time, which is reinforced by the use of a simplified clock face. 

Probably 1 (detail), 2005  gouache, graphite, acrylic on rag board. 87 x 160" (50 units)

The random formula combines repeated pre-determined elements and variable design choices, that were determined by shuffling a marked set of cards. There are four layers of overlapping grids of different scale. With each step a pie shaped section of the clock face, and two random squares, were selected and not worked further. The random small grey squares covered intersection points of the overall grid, except for already saved areas. The panels are in the order of completion and demonstrate a sense of time, which is reinforced by the use of a simplified clock face. 

Probably 2, 2005  gouache, graphite, acrylic on paper. 44 x 72" (60 units)

The random formula combines repeated pre-determined elements and variable design choices, that were determined by shuffling a marked set of cards. There are four layers of overlapping grids of different scale. With each step a pie shaped section of the clock face, and two random squares, were selected and not worked further. The random small grey squares covered intersection points of the overall grid, except for already saved areas. The panels are in the order of completion and demonstrate a sense of time, which is reinforced by the use of a simplified clock face. 

Probably 2, 2005  gouache, graphite, acrylic on paper. 44 x 72" (60 units). Installation shot in studio.

The random formula combines repeated pre-determined elements and variable design choices, that were determined by shuffling a marked set of cards. There are four layers of overlapping grids of different scale. With each step a pie shaped section of the clock face, and two random squares, were selected and not worked further. The random small grey squares covered intersection points of the overall grid, except for already saved areas. The panels are in the order of completion and demonstrate a sense of time, which is reinforced by the use of a simplified clock face. 

Probably 2 (detail), 2005  gouache, graphite, acrylic on paper. 44 x 72" (60 units)

The random formula combines repeated pre-determined elements and variable design choices, that were determined by shuffling a marked set of cards. There are four layers of overlapping grids of different scale. With each step a pie shaped section of the clock face, and two random squares, were selected and not worked further. The random small grey squares covered intersection points of the overall grid, except for already saved areas. The panels are in the order of completion and demonstrate a sense of time, which is reinforced by the use of a simplified clock face. 

Probably 3, 2006  gouache on paper. 28 x 31"

This piece incorporates the use of random formulas. I pre-determined what the abstract elements would be, but the choices were made by shuffling a marked deck of cards. The same steps were applied to each section. They were installed in the order of completion. The piece demonstrates a sense of time, which is reinforced by the use of a simplified clock face.

Probably 4, 2006  gouache on paper. 16 x 24"

This piece incorporates the use of random formulas. I pre-determined what the abstract elements would be, but the choices were made by shuffling a marked deck of cards. The same steps are applied to each section, but in this piece each square has one more step than the last one. They are installed in the order of completion. The piece demonstrates a sense of time, which is reinforced by the use of a simplified clock face.

Again, 2004  100' paper gum chain, aluminum tubes, graphite drawing on paper. 30 x 40"

Again, a 100-foot long gum wrapper chain, hangs next to a related graphite drawing. Made from folded paper gum wrappers, it replicates one that I made at 13. When a friend admired a small start I told her I would gift it to her, which happened a year later, when the chain was 100 feet in length. Because I don’t chew gum, I scavenged and got donations from friends. I gave this gift knowing it unlikely that someone would really want such a thing, and indeed it was later discarded. In the late 90’s I decided to start another chain and asked students to bring their gum wrappers. The first chain was colored, but now most wrappers are white in the center and the color does not show after folding. Any colored wrappers were folded inside out for consistency. When the new chain was finished, I hung it and drew the cast shadow to reference the original. 

Father/Daughter Collaboration 1, 2003  gouache, graphite, acrylic on wood. 6 x 6"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 2, 2003  gouache, graphite, acrylic on wood. 6 x 6"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 3, 2003  graphite, acrylic on wood. 6 x 6"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 4, 2003  gouache, graphite, acrylic on wood. 6 x 6"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 5, 2003  graphite, acrylic on wood. 6 x 6"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 6, 2003  graphite, acrylic on wood. 6 x 4"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 9, 2003  gouache, graphite, acrylic on wood. 5 x 6"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 1, 2003  gouache, graphite, acrylic on wood. 6 x 6"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 12, 2003  gouache, graphite, acrylic on wood. 5 x 9"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 13, 2003  ink, acrylic on wood. 8 x 8"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 14, 2003  gouache, graphite, acrylic on wood. 8 x 13"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 15, 2004  gouache, graphite, acrylic on wood. 8 x 6"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.