Artist's Statement

I am drawn to the human form and the poetics of everyday action. From my perch at the intersection of visual and performing art, I see the blurred, low-lit photographs of mid-century conceptual and collaborative art. Used initially to stabilize the transient and ephemeral moment, the performance document has now become aestheticized as a new art form in itself. My interest lies here, in the ambiguity between the experiential and the artifact.

Since 1995, much of my work has related to dance, creating set and costume installations that mark the circumference of the choreography. In both the performing and visual art worlds, I have sought a synthesis of the private studio practice and the public venue, sometimes working backwards from the evidence to the event. When viewed on stage, the costume/set installations serve as narrative threads in an otherwise abstract movement context. When installed on a gallery wall, the photographs, drawings and sculpture create a visual score with an implied performance potential or memory. I use apparitions of the theater—set and costume—volume and space— as formal devices as well as metaphors for time-based actions. On stage, a costume contains the essence of the performer by enhancing or obstructing movement; on the gallery wall, the costume becomes a relic or carapace of the dancer’s body, remembered in subjective time.