• Statement

  The Gleamer…

• This project is the beginning of a larger body of work that transforms the structural breakthroughs of Buckminster Fuller into physical objects for amusement. I am focusing on Fuller’s Jitterbug Transformation discovery which enables typically rigid materials to be flexible and transformable. This project bridges the divide between thinking and doing; demonstrating the a priori nature of art in the practice of architecture. It is a “tongue in cheek” response to Buckminster Fuller’s own obsession with objects of art and his insistence on exclusively architectural expressions of his ideas. The Gleamer is a 15 x 15 foot blanket of tiled aluminum. The blanket can be entered and manipulated from underneath to become a variety of sculptural forms.

• Statement

  The Squeezer…

• This sculpture is a continuation of the form developed for The Tangler. By adding a layer of aluminum to each module the sculpture has the ability to transform into different shapes by pulling and squeezing the object.

• Statement

  For Rubbing Not Reading…

• This project is a façade of intellectual activity. My process was to go to the University of Victoria library and select books from the shelves based on the surface of the book cover. Instead of hunting for substance, browsing through the stacks became an activity of pure superficiality. These sought after surfaces were then recorded by rubbing with grease crayon on to Mylar. The project currently consists of 348 individual rubbings and continues to grow with my teaching appointments at the University.

• Statement

  Touchy Subject…

• This project is a handful of superfluous labour. The compact forms are created out of intricately sewn leather with a plaster hand shaped grip. The sculptures appear to have a utilitarian association, but their function is sure seduction. The excessive workmanship and intricate detailing turns these forms into luxurious and redundant pets.

• Statement

  Submission…

• This Project promotes intimate activity between artists and funding agencies. Actions of affection and aggression mimic the emotions involved in the process of constantly applying for funding, recognition and exposure. The project is meant to emphasize the relationship between institutions and artists through physical contact.

  Currently the project exists as drawings and as a model at 1 to 6 scale. The final sculpture will be realized for the exhibition Throw Down, at the Art Gallery of Greater Victoria, January 2012. The sculpture will be a hand sewn leather structure at 84 inches in height that can be physically wrestled by the viewer. Resembling the design of children’s bop-bags the piece is weighted at the bottom and pops back after being attacked. The form itself is derived from the Canada Council for the Arts logo.

• Statement

  For Rubbing Not Reading…

• This project is a façade of intellectual activity. My process was to go to the University of Victoria library and select books from the shelves based on the surface of the book cover. Instead of hunting for substance, browsing through the stacks became an activity of pure superficiality. These sought after surfaces were then recorded by rubbing with grease crayon on to Mylar. The project currently consists of 348 individual rubbings and continues to grow with my teaching appointments at the University.

• Statement

  Ready To Rumble…

• This project turns the austerity of architecture into a flaccid opponent. It is documentation of a wrestling match between the artist and a six foot tall sculpture, comprised of wax bricks. The performance hovers between intimacy and aggression and stems from the act of caressing brick walls as she traveled to and from her studio space. The movement has expanded into metaphors for desire, burden, labour, competition and possession.

• Statement

  Contact Games – Screen Prints…

• This project slows down the pantomime between pretender and contender. A series of large silkscreen prints illustrate a frozen, but exaggerated interaction. A masked woman appears to be simultaneously caressing and wrestling with an immense object. Comprised of thousands of tubular forms the object is an exploded view of surface texture. The woman wears a wrestling mask, to allude to artifice, spectacle and futility.

Contact Games

Introducing the Rotator

• Statement

  Contact Game Sculptures…

• This project stems from my fascination with those moments in human behavior when intelligence and reason are pushed to the wayside in favour of amusement. To expose these moments I turn intellectual breakthroughs into novelty gadgets or absurd props for comic relief. The forms incorporate serial patterns and the same potential for endless action that you would find in a slapstick movie. They are entire body experiences that can be punched, pushed and grappled with. My intention is to breakdown the hierarchy that exists between physical and mental states by engaging with an object on a tactile level before the censorship of reason kicks in.

The Jiggler