Artist’s    Statement   of   Creative   Endeavors

 

overview      

My passion lies at the intersection of the arts and social engagement, especially as it relates to biological, social and spiritual ecologies. I am inspired by artists, scientists, educators and community members who move beyond conventions to use their vernacular and tools in ways that enhance diversity, nurture relations, and free the mind; I am interested in personal explorations, as well as interdisciplinary, co-creative work that contributes alternative models and realities to material culture, thereby helping to create sustainable solutions for humans to co-exist with all life on the planet. My earliest creative work focused upon objects, which grew into installations; teaching has always been part of my creative engagement. The most recent additions to my creative endeavors are community works and writing. I see all these components as contributing to the growing energy of transforming a consumptive culture into one that reflects the knowledge of its interdependency with all of life and its sources.

 

objects

The art objects I make are inspired by many things: religious & mythic structures and beliefs, conditions of our earthly environment, and human relationships to all life forms, including other humans. I explore issues which touch me deeply: poisoned land and food, species extinction driven by human consumption of habitat and resources, gender and racial inequality, and spiritual hierarchies.  I hope to spark meaningful thought concerning human relationships to all life forms.

            The artwork uses a combination of common fruits, vegetables & fragments of the human form, (made of slip cast clay), found and/or recycled objects/parts and fabricated components that unite all the pieces together.  The presence of domestic items brings a familiarity to what appears as a surrealist association of items. Upon closer inspection, a narrative arises. This story may be simply stated, as in Weeping Bier, where broccoli ‘trees’ are becoming or ‘coming out’ of Kleenex tissues, linking forests with tissue (for tears and nose effluents).  But the words along the 4 sides of the Kleenex dispenser also link this logical relationship of trees to the cardinal directions of North, East, South and West and their associative qualities;  these latter connections are inspired by native North American Indian cultural beliefs and practices, and aid us in perceiving forests beyond their resource capacity. 

            Sometimes a contemporary social or environmental problem is presented much like a scene from a mythic story, encapsulating a poignant moment that gives us a larger perspective of specific circumstances. In response to rampant planetary deforestation, I created Crossing to Safety, a refurbished travel trunk, containing a bier/raft of trees (ceramic broccoli), being solemnly escorted by 5 white ducks (ceramic combined pears & squash) across a sea, to an unknown destination. The bird, as spiritual guide, reflects a sense of archetypal movement between the worlds of the living and beyond. The end is as of yet, unknown; in addition to reflecting environmental and planetary transitions, the scene can also encompass the personal passing of injurious habit patterns.

            In addition to relying on myth to connect with the viewer in subconscious ways, I use humor to keep the audience alert to the ironies of life. In Couch Potato In the Lemon Grove, a female form is hanging out in a very sour environment (lemon trees), numb to the circumstances that surround her.  The situation is a metaphor for my own experience of knowing social needs (especially human inequities & environmental issues) and not being able to actively participate in their rectification.  This relates to those people / societies that are so preoccupied by our material existence that we don’t have time or energy to engage in solving problems (even if we notice them).

             Fully expecting viewers to apply their own experience and comprehension to the allusions presented, I create avenues of contemplation in these contemporary times of upheaval and transformation. My fundamental desire is for humans to re-imagine our world in an integrated way, linking the seemingly disparate worlds of economics, ecology, politics and spirituality.

 

installations

My creative expression evolved from objects to installation; these gallery-based mixed-media installations focus on creating environments for humans to experience extraordinary states of consciousness. Currently, I am excited by scientific advances in measuring and describing the energies surrounding life forms, and the co-relation of these energies with states of health. Information from sources as diverse as psychology/medical labs and yoga research institutes inspires me; in addition, my own reflections of altered states of consciousness (through dreams, breath work & meditation) have fed the creation of 2 in a series of experiential installations based on the 4 elements: Water, Air, Fire & Earth. Using natural and altered sounds, smells, unorthodox lighting and archetypal spatial structures, the space/time of everyday reality is suspended; a participant moves along a path, stopping at significant points along a journey.  Technology is employed to create sound vibrations that penetrate beyond the egoistic layer, into the core of being, where subject/object boundaries dissolve.

            The first installation, “Absence of White Lite”, highlights the element of water, and its characteristics of fluidity, movement, creativity and connections to emotions and the West; the installation magnifies the space-time continuum between life and death of all life-forms.  It is during this, “state of grace,” that a heightened awareness of one’s surroundings allows for clearer understanding of similarities between human and non-human nature.  The environment creates a sensory experience celebrating decay and birth; some of the structures decay and/or grow over the course of the exhibition. In giving animal and vegetal forms a human context, humans are reminded of the living presence of ‘other’ and of our human potential to transform. 

            The second installation, “Meditations on Being: One Body, Mind and Spirit” focuses on the element of Air.   Since Air connects with mind/intellect, East and new beginnings, I posed the question “how have our core cultural beliefs created the current social and environmental problems and how can we begin to re-create a more equitable and sustainable culture?” This lead me to explore wisdom from numerous religio-philosophical systems, and evolved to presenting a ritual journey that beckons a visitor to contemplate at 8 shrines/stations. Altogether, the experience, accompanied by breath, chanting and wind sounds, is meant to aid the re-balancing of our physical/instinctual, emotional, intellectual and spiritual bodies, so we humans can live more consciously, transform negative habits, and respond from a spiritual center, thereby supporting the greatest good of one’s self, community and the planet.

            At present I am working on the 3^rd installation, based on the element of FIRE, and its’ characteristics of transformation, power and the South, the place of inspiration and higher wisdom.

 

community works

Community works evolved from teaching ‘Art & Ecology’ at the University of Wyoming, where in students created proposals to ameliorated specific local environmental problems.  This effort created a desire to work directly with people in the process of linking art, nature, social and spiritual issues.  Thus far, these have taken the form of creating labyrinths and wetland interpretive art.  I am also currently involved in planning crafts involving the re-use and re-cycling of materials at my local Children’s Museum and Nature Center.

            The labyrinth, as an ancient symbol of transformation, intrigued me as a possible tool for individuals and communities to “go inwards” in order to deepen their connection with nature.   Researching the labyrinth’s historical significance and contemporary usage, I was intrigued to test the claims set forth by proponents that using the labyrinth heals relationships to self and others, allowing humans to respond to life, not react from negative habit patterns. During an artist’s residency program in northern Georgia, and with the support of several teachers at the nearby Nachuochee Middle School, I spent a week creating an outdoor, full-sized (45’) labyrinth with the assistance of over a hundred students (grades 5–9) from art, outdoor education and religion classes. My experience since then has convinced me to the healing powers of the labyrinth.

In 2002, I worked as a design consultant with the Community Labyrinth Project in Nelson, British Columbia, Canada. I consulted with botanists and staff from “parks and recreation” to assist with the design of a permanent labyrinth and created a poster to aid the fundraising portion of the group’s efforts.

In addition, I was a key member of a small group of devoted community members that created a permanent labyrinth on the grounds of the Cheyenne Botanic Garden in Cheyenne, WY.  This 65’ diameter labyrinth is wheelchair accessible, and has garden beds honoring the four directions through their placement and the planting’s symbolic colors. The perennials were also chosen for their healing properties, cultural relevance,  beauty and aroma.

These are long term projects involving community building and efforts at multiple levels: committee work to create and sustain a common vision, outreach for special components, fundraising, labor and much more.  These are the processes of creating true community that I feel are essential to acknowledging human interdependence with each other and all of nature.

            Another community project that encapsulates my interest in interdisciplinary creativity is the project titled: Discovery Pond: Interpretive Art for a Wetland. In the Fall of 2000, I was invited by the Development Director of the Botanic Gardens in Cheyenne, WY, to join an interdisciplinary panel in developing an interpretive plan for a wetland planned for construction in a natural depression on the Botanic Garden grounds. The panel included wetland biologists/scientists from the Game & Fish Dept. and U.S. Fish & Wildlife Service, as well as a journalist and a poet. The scientists took local students on field trips to nearby wetlands to teach them about ecosystems, plants, animals and the important functions of wetlands.

As the artist with expertise in ecological science, I sought to help to reinforce these concepts through the creative act of constructing verses and making collages. In a series of workshops given to 3 different Grade 6 classes from the county schools, I guided the children in transforming their knowledge and feelings about a wetland into designs for postcards and bronze plaques.  Each class teacher helped students to stay focused on their creative plans in between workshops. The resultant postcards were printed and are now available to visitors to the Botanic Gardens; the bronze plaques are in situ along the Discovery Pond’s walkway. These works educate the public about the beauty and functions of a wetland. For more information, see the Botanic Garden websites  http://www.laramie1.k12.wy.us/discovery/postcards.htm  and http://www.laramie1.k12.wy.us/discovery

 

education    

Teaching is one of the platforms through which I extend the significance of artwork that serves the human community and the earth. At the University level, contemporary art invested in social transformation is my passion. “Art, Gender, Race and Class,” (a theoretical contemporary seminar, containing a wide range of media whose content focuses on social issues) and “Art and Ecology” are the 2 courses that I love to teach. The latter is both theoretical, practical and interdisciplinary, drawing students from environmental studies, geology, communications, fine art and other humanities.  A one month intensive “field” version of this class took place at a research station in Costa Rica (summer 2001); experiences –for both the students and myself-- within non-dominant cultures brings awareness of global interconnections. I believe in bringing outside expertise into the classroom whenever possible: local scientists, community experts, visiting artists. I urge students to attend “non-art” lectures, and welcome students and teachers to attend my classes and visiting interdisciplinary artists. In short, I believe education is best attached to multiple perspectives within real life circumstances. 

            My educational philosophy also involves teaching students to work collaboratively and extend themselves beyond their own discipline; this has motivated several research projects on the effects of different teaching and evaluative methodologies, the essence of which teaches the skills of self-reflection and social engagement. Two pilot projects, with grants administrated through the University of Wyoming’s Center for Teaching Excellence supported these separate investigations. I have also had the fortune to experiment with unusual teaching materials (taped lectures from “Bioneers” conference, artist-created sensory “field guides,” magnifying lenses, etc.) for the field “Art & Ecology” class taught at the biological research station in Costa Rica. 

 

writing

At present, my research and writing occurs at the intersection of ecology, feminist practice (particularly aspects that embody the archetypal feminine) and artistic expression.  My quest is to showcase interdisciplinary artists, and theorize how their delving into biological, social and spiritual ecologies serves the web of life in unique ways, especially as they relate to contemporary applications of science, ecofeminist theories and consciousness research. At this stage, one published article is available on this website.

 

summary  

My creative research and teaching interests are broad. Basically, I am interested in all venues that stimulate conscious acts acknowledging the life systems that support humans on this planet: physically, mentally, emotionally and spiritually. Forging links between arts/humanities, science and communication/media are essential in this endeavor.