Growing up in and around Detroit opened my mind to the sheer grandiosity of mechanization and the far-reaching effects of its ambition. The influence of sound and movement in the city entered my work at the University of Michigan School of Art (BFA) and Cranbrook Academy of Art (MFA) where I concentrated in the Fiber Department with critical influence from the Sculpture and Architecture Departments. My work is focused on creating a hybrid staging of theatre and machine through drawing and sculpture using common industrial materials such as motors, electronics, wood, paper and rubber.
Recently, I have developed projects in residencies in Europe and Japan that concentrate on mapping, walking, and way finding. These have become the basis for building objects that incorporate and choreograph the viewer/participant in sonic and kinetic situations where references to the machine remains a central image.
This work has been shown in solo and group exhibitions at museums and galleries in the U.S., Canada, Europe, Japan, and South America. These include, in San Francisco, the Yerba Buena Center for the Arts (“Big Deal”), Contemporary Jewish Museum (“Contraption”), Southern Exposure Gallery (“Sayonara”), and Catharine Clark Gallery. Further afield, the Fukushima Biennale, Japan, the Kansas City Art Institute, the Detroit Institute of Arts, the Anchorage Museum of History and Art, the Cranbrook Museum, Michigan; and the Kansas City Art Institute.
I have received grants from the National Endowment for the Arts, the California Arts Council, and the Michigan Council for the Arts. Residencies have included the Siena Art Institute in Italy, the Japan-US Friendship Commission in Japan, Youkobo Art Space in Tokyo, ZK/U: Zentrum für Kunst und Urbanistik in Berlin; and Artpark in New York. Several Public Art commissions in California and Washington have allowed me the opportunity to interact with diverse communities through open-ended narrative imagery.