In my current work, my process begins with the daily practice of documenting a physical sensation. This choice to use the body as a starting point, stems from the desire to give a visual form to a feeling that is invisible to the eye and medical imaging, and only exists through a subjective experience. I am interested in expressing something that does not exist in the tangible material world and does not hold a containable form. Through the collection of data from my daily documentation process, I then generate numerous systems for the information to exist in a material form, abstracting and quantifying the information in order to make sense out of a bodily experience. Once I devise a system for a particular piece, I follow the system all the way through the work, allowing for the visual results to exist outside of subjective expressive decisions. My materials such as, pins, thread, holes, acetate, and text all installed directly on the wall, map and trace experience with a tightly controlled, assertive accuracy. This accuracy is false by nature, as it speaks to the impossibility of harnessing a sensation. But through my attempt to do so, I question the gap between subjective experience and medicine’s conventions of understanding and looking at the body. The very logical, systematic, and quasi-scientific approach to the work gives me authority and agency to rationalize something irrational and control something that is beyond my control. By abstracting and codifying the work, I want to evoke a sense of the passing of time, accumulation, attentiveness, presence and absence, density and sparseness, control and loss of control, all in connection to the body that goes beyond a narrative of my individual physical experience. The work is often organized into grid like charts and diagrams mimicking science and medicine’s representations of the body as a specimen, visually displayed for the purpose of gaining knowledge. In this way I create distance from the information and objectify the experience, giving a false sense that the body is an easily defined,understood and accessible system.
Artist Bio / CV
2006 MFA, California College of the Arts, San Francisco, CA
1999 BA The Colorado College, Colorado Springs, CO
2008 Expanding, Standford University
Juried@BAC, Berkely Art Center, juried by Catherine Clark of Catherine Clark Gallery and Joanne Northrup chief curator at San Jose Museum of Art
Pragmatic Terrain, Art Center/South Florida, Miami Beach
Parallel Evidence, Basil Racuck, Berkeley, CA
2007 Introductions 3, Irvine Contemporary, Washington D.C.
Threads, Johansson Projects, Oakland, CA
Indefinite Proliferation, The Lab, SF, CA
Systems and Transmutations, Root Division, SF, CA
Time Lines, Mina Dresdin Gallery, San Francisco, CA
Southern Exposure Auction, Southern Exposure, SF, CA
2006 Peripheries of Narrative, Patricia Sweetow Gallery, SF, CA
Cream: From the Top, Arts Benicia, Benicia, CA
Barclay Simpson Award Exhibition, Oliver Arts Center, Oakland, CA
MFA Thesis Exhibition, California College of the Arts, SF, CA
2005 Visual Scholars: Up and coming Southern California Artists, Santa Ana College, Santa Ana, CA
2004 Resident Artist Exhibition, Anderson Ranch Arts Center, Snowmass Village, CO
Conversations: In Color, Aspen Chapel Gallery, Aspen, CO
2003 The Eclectic Collection, Red Brick Arts Center, Aspen, CO
2002 Aspen Art Museum: Instructor Exhibition, Red Brick Arts Center, Aspen, CO
2006 Barclay Simpson Award, Outstanding Graduate Work, California College of the Arts, San Francisco, CA
2004 & 2003 Artist in Residence
Anderson Ranch Arts Center, Snowmass Village, CO
1999 Cum Laude
The Colorado College, Colorado Springs, CO
Klein, Barbara. “Looking for the Best in a Fresh Crop of Graduates from Art School” Voice of America. September 2007.
Binshtock, Avital. “Art School Confidential.” Lifescapes Magazine. October 2006.
Helfand, Glen. “San Francisco Critics’ Picks: ‘Peripheries of Narrative.’” Art Forum, Critic’s Picks. 20 June 2006
Swanhuyser, Hiya. “The Art of the Back Story.” SF Weekly. 14 June 2006
Whiteside, Amber. “’Peripheries of Narrative’ at Patricia Sweetow Gallery.” Artweek. September 2006.