Covering the windows at Site:LAB with transparent and semi transparent materials creates a
situation where a viewer must look at the windows and not through them. This intended redirection
of expectations is created by using ordinary materials for unusual purposes. Hand cut contact paper
(shelving paper) is patterned after a graphic element found on the facade of the building,
referencing it without directly copying it. It is then repeated across all of the windows, lit and
backed by scrim; the pattern disappears at times, casts shadows, and sets up anticipation for the
My work has been shown internationally and throughout the Midwest and East Coast, and is held in
public collections including Detroit Institute of Art Museum, Yves St. Laurent, MGM Mirage Hotel,
the Birch Pond Group (j.jill Retail Stores) in addition to private collections.
I am a recipient of awards and honors including Honorable Mention in the 25th International Juried
Art Show in NJ, alternate for the Maria Walsh Sharpe Foundation Studio Award in NY, the Graduate
Award from the City University of New York, and Honorable Mention in the 12th Annual National
Small Works Exhibition in NY.
I was Guest Lecturer at Calvin College, Grand Rapids Art Museum and School of Visual Arts and
taught for four years at Kendall College of Art and Design. I hold a MFA from The City University of
New York, Queens; a BFA from Kansas City Art Institute, and a BA from University of Nebraska.
My work adopts repetition, pattern and the grid to communicate information that references the
passage of time. Sensual, subtle, non-representational and systematic, the work is composed of a
dense accumulation of ordinary materials positioned through labor-intensive processes that allow
the materials to transcend their perceived function. This process of making is slow, deliberate, and
connects my thoughts to the physical world; and through my process, the everyday, the in-between,
the time spent waiting is implicit and results in a form.
I often use the grid as a connecter for my materials. The order of a grid allows the imperfections of
my actions to be noticed and deify the implied perfection and logic of the underlying structure. The
historical signi!cance of the grid in quilting and in high modernism (craft and art) is also of great
interest to me. Both employ the grid as a vehicle yet are valued unequally by contemporary society.
Craft is regulated to a utilitarian function or women’s work, while art is given a higher value.