“To see someone, through her own agenda, move her work from printmaking to a practice she’s designed herself is a good model for our students to have.” -Hans Gindlesberger, Exhibition Curator
Acrylic and polymer gypsum on hand-cut paper, conduit, monotype, light
Photographed at the Rosefsky Gallery, Binghamton University, NY. Images courtesy of Marc Newton.
A slight adjustment made to one wall, from white to a flat gray, gives the illusion that the paper forms are growing out of the wall—that it is solid as if made from stone, a density that contrasts the airy qualities of the rest of the installation. This area, being lit from the side and allowing for more darkness, has an inherently mysterious materiality.
The provocative blackness of the ceiling gives viewers the feeling of being submerged by the installation. Lighting directed downward casts shadows onto the floor and walls, adding to the sensation of being enveloped by a strange interloper in the night. The dark qualities are brought down further into the installation by lighting select areas, leaving a noticeable black void on certain parts of the floor and walls. In this way, the entire room is made part of the piece.
In the brown sparkle, mesmerized
Was the sunset—red turning darker red—
All the smoke blown in the air
Streamed high and you were high, but I placed you higher while
Falling for the spell
Overt as the grease left all over our walls
Repeatedly, into oblivion, I washed them again and again.
Conjuring love out of nothing, washing my body after each attempt
Even when it seemed real like the walls
Delight was only yours.