Jewelry - Upcycled work

Most of my work involves upcycled elements. I often use tins and old costume jewelry. These pieces utilize cold-connection methods for assembly. 

The production line pieces use fused plastic bags for their colorful portions with copper, brass and nickel for the metal portions and silver ear wires. 


 

2017-18 Wood, Metal, Paper

I didn't update with new work last year; this is two years' work in three mediums; I made a few new wooden assemlages. I finished a 2-D assemblage (some would call collage) begun 30 years before. As a result many other "floral" works came from the scraps and unused fragments. Also during 2018 I returned to metal men assemblage; I made several large sculptures that are envisioned to be marionette puppets.

Arabber Series

Arabber Series began in 2018 with an invitation to create a sculpture for a benefit for the Preservation Society of  Arabbers in Baltimore.   The horse-drawn vending carts date back to the 19th century and is a vanishing tradition.  Arabbers in Baltimore, primarily owned by African Americans, are fruit, vegetable and fish peddlers who hawk their wares on brighly painted, horse-drawn wagons to rowhouse neighborhoods in need of fresh groceries.  

Typewriter

 Here's an old typewriter with lots of objects added to make it more interesting. And it is typing music. And it has brand-new epoxy resin wings. Lots to see here, so enjoy! , 11"h x 19"w x 15"d. 2017

Redlined

Assemblage: objects, oil, charcoal, acrylic on canvas and wood, approx. 53"h x 38"w x 3"deep.

 The relationship of wealth, not to mention freedom, to whiteness is neither accidental nor individual. Governments at all levels, financial institutions, landlords, and real estate firms have created systems to maintain the disparity. 
Several cities enacted racially restrictive ordinances in the early 1900’s, led by Baltimore in 1910. 

Raw Material #6 - #7

Artist Statement
RAW MATERIAL

My artwork is tied to the confrontational aesthetic and psychic potency of West African, Vodun religious sculpture. Inevitably untethered from authenticity by whiteness, Western culture, and modernity, my works are surrogates for my own life (or death), and a form of advocacy against the neglect and marginalization of mental health in society.     
 

I AM Outside

Artist Statement
RAW MATERIAL

My artwork is tied to the confrontational aesthetic and psychic potency of West African, Vodun religious sculpture. Inevitably untethered from authenticity by whiteness, Western culture, and modernity, my works are surrogates for my own life (or death), and a form of advocacy against the neglect and marginalization of mental health in society.  In particular, this body of work focuses on the transparency of coponent parts to undo the distanced relationship between public and private.     
 

Raw Material #1 - #5

Artist Statment
RAW MATERIAL 


My artwork is tied to the confrontational aesthetic and psychic potency of West African, Vodun religious sculpture. Inevitably untethered from authenticity by whiteness, Western culture, and modernity, my works are surrogates for my own life (or death), and a form of advocacy against the neglect and marginalization of mental health in society.     
 
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