Work samples

  • Last Call
    Last Call
    installation 2022,
    8' x 5' x 8', variable
    ceramics, theatrical drape, sound (of ringing and busy phone)
    Part waiting room, part mortuary, it is calling.
  • (dirty~clean)CLEANERS
    (dirty~clean)CLEANERS
    installation/performance 2019,
    neon, clothing rack, collected and used dry-cleaning bags, filament with on-going performance.
  • From Our Waist to Waste (Is Fashion Sustainable?)
    From Our Waist to Waste (Is Fashion Sustainable?) 2022
    Public Art Project that includes an installation of post consumer clothing, decomposition tags (pictured here) performance and a publication about textile and fashion rubbish, history and sustainability.The work considers the relationship between glamor and waste.
    As part of the performance the viewers were able to tag their garments to determine the life span of the materials they were wearing-some of which will be lingering for hundreds of years in a landfill.
  • Here in the Here After We Frolic
    Here in the Hereafter We Frolic,
    site-specific installation 2021
    bamboo, repurposed plastic, paint, light
    The work celebrates the conservation and
    comeback of the Trumpeter swan.
    The largest water fowl indigenous to North America.

About Laure

Baltimore City - Bromo Tower Arts District
Laure Drogoul is a Baltimore based interdisciplinary artist, olfactory spelunker and cobbler of situations. Laure works with a wide range of media including projects in which she creates sculpture, performance and events that invite the viewer to be an active participant. She has exhibited and performed internationally and nationally, including The International House of Japan in Tokyo, Corcoran Gallery of Art, Washington Project for the Arts, Baltimore Museum of Art and The Center for… more

Installation/Performance 2022-2017

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  • Last Call
    installation detail
  • (dirty-clean)Cleaners
    (dirty~clean)CLEANERS
    installation/performance 2019,
    neon, clothing rack, recycled single use dry-cleaning bags, filament, sound with on-going performance. The work reflects on the ubiquitous cleaners of our urban landscape. The project emphasizes the growing problem of LDPE plastic and the use of perchloroethylene, a known toxin, to clean wearables.
  • (dirty~clean)CLEANERS
    (dirty~clean)CLEANERS
    installation/performance 2019,
    neon, clothing rack, recycled single use dry-cleaning bags, filament, sound with on-going performance. The work reflects on the ubiquitous cleaners of our urban landscape. The project emphasizes the growing problem of LDPE plastic and the use of perchloroethylene, a known toxin, to clean wearables
  • From Our Waist to Waste (Is Fashion Sustainable?)
    From Our Waist to Waste (Is Fashion Sustainable?) 2022
    Public Art Project that includes an installation of post consumer clothing, decomposition tags (pictured here) performance and a publication about textile and fashion rubbish, history and sustainability.The work considers the relationship between glamor and waste.
    As part of the performance the viewers were able to tag their garments to determine the life span of the materials they were wearing-some of which will be lingering for hundreds of years in a landfill.
  • From Our Waist to Waste
    From Our Waist to Waste:(Is Fashion Sustainable?)
    public art/performance/installation 2022
    detail of publication about fashion and sustainability
  • Hothouse for the Flora of Our Own Making
    Hothouse for the Flora of Our Own Making,
    installation 2019,
    43'L x 15'D x 10'H
    thousands of clear polyethylene single use repurposed dry cleaning plastic bags, wood, filament and motion light
    Site-specific installation in a greenhouse that juxtaposes the flora of the natural world, as evidenced in the lush plant life of Ladew's Topiary Gardens, with an illuminated, ethereal hothouse of polypropylene vegetation, that is a human creation.
  • Hothouse for the Flora of Our Own Making
    Hothouse for the Flora of Our Own Making
    installation 2019
    This site-specific installation in a greenhouse, is a spectacle of endless consumption and a reminder of how a material of our own design has become a staple of our environment and is rapidly transforming the natural world.
  • The Illuminated Fountain of Extinction.jpg
    The Illuminated Fountain of Extinction 2018
    wood, fabric, paper, light, sound, rickshaw, multiple performers and participants.
    The Illuminated Fountain of Extinction is a participatory theatrical event and a sculpture that is a dystopian inversion to the Fountain of Youth. It features a climate change processional performance with a living tableau of natural and post-natural creatures. The work is inspired by the search for the fountain of youth and the exotic flora and fauna of the illuminated manuscripts. The project raises environmental awareness.
  • Herbispheres (or a post natural garden of possibilities)
    Installation 2017
    low-fire ceramics, water micro-greens seeds, plastic, glass and LED grow lights
    Decker Gallery, MICA faculty exhibit
    The seeds embedded in the surface of the water saturated ceramics sprout under the glow of artificial light of the LEDs, creating a shadowy garden of the post-natural future.
  • Friends of Friends of Friends(Diceros bicornis longipes)
    Friends of Friends of Friends, Installation 2017
    canvas, paint, wood, foam, bench video and field recordings of red-billed ox peckers and cattle egrets.
    Video documentation of the installation juxtaposes a singular sculptural object of the western black rhinoceros (declared extinct in 2011) with video and audio recordings of its symbiotic species.The work considers the relationship between species as the environment changes.video documentation of installation

Installation/Performance 2017-2014

  • The Way of Lead (.38 caliber)
    performance 2017
    Civil war era period garment, candle, smelting kiln, lead, bullet mold making tools, vapor mask, water and metal table.
    DCenter Gallery (as part of Labbodies performance festival), Baltimore MD
    In this performance I ritualize the process of casting .38 caliber bullets designed for a civil war caliber revolver,that was used in both the Union and Confederate Armies. After the casting process I hand them to the audience.
  • Potty Training for Adults and other Civil Duties
    Potty Training for Adults and other Civil Duties
    performance 2016
    adult diapers, tunnel vision spectacles, soap, Q tips, towels
    School 33 Art Center

    This performance takes the form of a tour and public announcement. During the performance, the viewer is invited into a public lavatory to receive an instructional tour of the body and it’s functions. During the tour among other activities, the viewers hands are washed, they are read to by a lavatory inhabitant and assistant. The tour begins with a glass of water and the tourists are fitted with tunnel vision goggles. The goggles distort the personal view of the space and focuses awareness on the participants body in the environment.
  • Potty Training for Adults and other Civil Duties
    Potty Training for Adults and other Civil Duties
    performance 2016
    School 33 Art Center
    This performance takes the form of a tour and public announcement. During the performance, the viewer is invited into a public lavatory to receive an instructional tour of the body and it’s
    functions. During the tour among other activities, the viewers hands are washed, they are read to by a lavatory inhabitant and assistant. The tour begins with a glass of water and the tourists are fitted with tunnel vision goggles. The goggles distort the personal view of the space and focuses awareness on the participants body in the environment.
    Participants are brought into lavatory installation for a tour.
  • Potty Training for Adults and other Civil Duties
    Potty Training for Adults and other Civil Duties
    performance 2016
    School 33 Art Center
    This performance takes the form of a tour and public announcement. During the performance, the viewer is invited into a public lavatory to receive an instructional tour of the body and it’s
    functions. During the tour among other activities, the viewers hands are washed, they are read to by a lavatory inhabitant and assistant. The tour begins with a glass of water and the tourists are fitted with tunnel vision goggles. The goggles distort the personal view of the space and focuses awareness on the participants body in the environment.
    Participants are brought into lavatory installation for a tour.
    Detail of inhabitant in the public lavatory (performed by Matt Williams)
  • Teetering X Tottering(On The Brink)
    Sculpture 2015
    wood, water, repurposed water bottles, micro-controllers, sensors, speakers, light
    Teetering X Tottering(on the brink)—is a kinetic sculpture that invites the viewer to balance up or down creating an experiential awareness of water as a shared resource. The participants movement of the see-saws in this audio work triggers the recorded sounds of the fish common to the Chesapeake Bay, thereby connecting them to the natural world.
  • Teetering X Tottering(On The Brink)
  • Art Guard (en garde)
    ART GUARD (en garde) 2014
    performance as part of Labbodies Lab
    Baltimore Museum of Art
    Performance with recorded tape (audio guide), plaster mask and museum guard uniform.
    With this performance, I suggested that the guard be considered the art of the museum. Masked and uniformed as a Baltimore Museum of Art guard, I offered lessons in self-defense with a pre-recorded audio guide.
  • Art Guard (en garde)
    ART GUARD (en garde) 2014
    performance as part of Labbodies Lab
    Baltimore Museum of Art
    Baltimore, Maryland
    Performance with recorded tape (audio guide), plaster mask and museum guard uniform.
    With this performance, I suggested that the guard be considered the art of the museum. Masked and uniformed as a Baltimore Museum of Art guard, I offered lessons in self-defense with a pre-recorded audio guide.
  • SWAN SONG (After-Life Karaoke)
    SWAN SONG (After-Life Karaoke)
    Installation/performance 2013 (on-going)
    modified 1969 hearse, karaoke machine, speakers, disco ball, light
    This artwork is a mobile karaoke room in a funeral car.
    The installation invites the viewer to repose in the back of a hearse and sing a Karaoke song, eulogize or simply listen. SWAN SONG explores issues relating to loss, death and the finite nature of the body....and the world. This project is ongoing and moves to different locations in Baltimore.
  • SWAN SONG (After-Life Karaoke)
    video documentation of SWAN SONG (After-Life Karaoke)
    Installation/participatory performance 2013
    Swan Song is a mobile karaoke room in a Funeral Car. This mobile installation invites the viewer to repose in the back of a hearse and sing a song, eulogize or simply watch and listen. Swan Song explores issues relating to loss, death and the finite nature of the body...and possibly the world.

Installation/Performance 2014-2012

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  • Going to Seed
  • Going To Seed
    Installation 2014
    Ceramics, light, water micro-greens seeds (arugula, chia, cress, flax).
    Baltimore Clayworks Project Room
    Over the course of the project, I created and cultivated with different clay vessel shapes and seeds. The project was site specific to the Gallery's sunroom. The work invites the viewer to care for the small micro-green gardens by misting the sprouting vessels as they grew over a 5 week period and then I invited them to snip and taste the sprouts.
  • Going To Seed
    Installation 2014
    Baltimore Clay Works

    Ceramics, light, water micro-greens seeds (arugula, chia, cress and flax).
    Baltimore Clayworks
    Project Room
    Over the course of the project, I created and cultivated with different clay vessel shapes and seeds. This installation invited the viewer to care for these mini-gardens by misting the vessels and I invited them to snip and taste the sprouts.
  • FatherSky/Shezilla
    Sculpture 2013
    10’x8’x13′ (size variable based on ceiling height)
    wood, paper, fabric, light, sound, mirror
  • Father Sky/Shezilla
    detail
  • Pendulum(Oracle)
    Installation 2014
    water, blue light, lens, string, 4 participants
    10'H x10'L x10'W
    EMP Collective, Baltimore, MD
    In this installation the participant is invited into a room that contains a suspended water filled pendulum and invited to gently manipulate and/or ask questions of the pendulum via 4 attached hanging lines.
  • Pendulum(Oracle)
    Installation 2014
    water, blue light, lens, string, participants
    EMP Collective, Baltimore, MD
    Detail of pendulum in use. In this installation the participant is invited into a room that contains a suspended water filled pendulum and invited to gently manipulate and/or ask questions of the pendulum via 4 attached hanging lines.
  • Fauxbow
    Sculpture 2012
    Influx Gallery, Baltimore
    100 liters of bottled water, repurposed water bottles, light, wood, dye
  • Fauxbow
    Sculpture 2012
    Influx Gallery, Baltimore
    100 liters of bottled water, light, wood, dye
    Detail of cut stacked bottles

Installation/Performance 2012-2008

  • Invocation for The Last Full Measure of Devotion (seance for patriots' dreams)
    Site-specific installation 2008
    300 military uniforms, 2 channel video,
    18'x15'x8'
    Arlington Art Center
    Arlington, VA
  • Invocation for The Last Full Measure of Devotion (seance for patriots' dreams)
    Site-Specific Installation 2008
    300 military uniforms, 2 channel video, black velvet, flowers, glitter
    18'x15'x8'
    Arlington Art Center
    Arlington, VA
  • Headform for the Age of Magical Thinking
    Sculpture 2010
    wood, paper, fabric, video, interactive media
    Suspended 7'x6' diameter (head)
    Julio Gallery Loyola University
  • Headform for the Age of Magical Thinking
    Sculpture 2010
    wood, paper, fabric, video, interactive media,chair
    Suspended sculplural form 7'x6' diameter (head)
    Julio Gallery Loyola University
    The installation explores ideas of mental causation and the role that technology plays in the process. The gallery is dominated by a disembodied head that is offered as a specimen of modern man. The puppet head responds to movement and greets the viewer with a telephonic response.

  • Writing Device
    Writing Device
    Performance 2005
    Amplified paper, pen nibs, ink, amplifier

    In this performance, my fingers are attached to 10 pen nibs. The movement of my hands the nibs and ink on the amplified paper create writing/mark making into sound.
  • MiMi
    MiMi
    2 channel video projection 2011
    Mimi DiPietro Ice Rink
    Public Project
    Parade Director 2011-2013
    Great Halloween Lantern Parade
    Patterson Park, Baltimore MD
    As the director of the lantern parade I ipresented site specific video projections in the Park - projecting onto the Mimi DiPietro ice rink dome.
  • Swan Parade Float
    Lake floats made from repurposed Baltimore Marathon
    plastic jugs, paper and bamboo.
    10'x8'x7'
    2011-2013 Parade Director
    Great Halloween Lantern Parade,Patterson Park, Baltimore MD
    As Parade director I designed and facilitated lantern and float workshops from repurposed plastic trash to promote environmental awareness.
    I fabricated and taught a series of lantern and float workshops. The workshops challenged the community to use existing materials, through collection and re-purposing to create illuminated parade objects for the annual Halloween Lantern Parade . The workshops incorporated traditional lantern making techniques with collected plastic and paper to bring attention to public waste and promote recycling.
  • Lantern Parade(Cosmic Park)
    Lake floats made from repurposed Baltimore Marathon
    plastic jugs, paper and bamboo.
    10'x8'x7'
    2011-2013 Parade Director
    Great Halloween Lantern Parade,Patterson Park, Baltimore MD
    As Parade director I designed and facilitated lantern and float workshops from repurposed plastic trash to promote environmental awareness.
    I fabricated and taught a series of lantern and float workshops. The workshops challenged the community to use existing materials, through collection and re-purposing to create illuminated parade objects for the annual Halloween Lantern Parade . The workshops incorporated traditional lantern making techniques with collected plastic and paper to bring attention to public waste and promote recycling.
  • Lantern Parade studio

Sculpture/Installation (Rotten Enchantments)

  • She Pod of Rotten Enchantment
    Sculpture 2009
    Decker Gallery, MICA, Baltimore, MD
    Mixed media including interactive video, fabric, wood, photocopy paper, plants and a hammock. 16'x14'x12'ht This sculpture is a architectural folly based on an Anatolian sphinx/fertility figure. The interior is an open space and garden for events to occur and contains a hammock. The eyes are Interactive media/video that respond to the movement of the visitors that enter the interior space.
  • She Pod of Rotten Enchantment
    Sculpture 2009
    Decker Gallery, MICA, Baltimore, MD
    Mixed media including interactive video, fabric, wood, photocopy paper, plants and a hammock. 16'x14'x12'ht This sculpture is a architectural folly based on an Anatolian sphinx/fertility figure. The interior is an open space and garden for events to occur and contains a hammock. The eyes are Interactive media/video that respond to the movement of the visitors that enter the interior space.
  • She Pod of Rotten Enchantment
    side view (detail)
    The viewer enters the interior installation through a doorway located on either side of the figure, between the arm and leg.

    Sculpture 2009
    Decker Gallery, MICA, Baltimore, MD
    Mixed media including interactive video, fabric, wood, photocopy paper, plants and a hammock. 16'x14'x12'ht This sculpture is a architectural folly based on an Anatolian sphinx/fertility figure. The interior is an open space and garden for events to occur and contains a hammock. The eyes are Interactive media/video that respond to the movement of the visitors that enter the interior space.
  • She Pod of Rotten Enchantment
    detail of interior space with hammock.
    Sculpture 2009
    Decker Gallery, MICA, Baltimore, MD
    Mixed media including interactive video, fabric, wood, photocopy paper, plants and a hammock. 16'x14'x12'ht This sculpture is a architectural folly based on an Anatolian sphinx/fertility figure. The interior is an open space and garden for events to occur and contains a hammock. The eyes are Interactive media/video that respond to the movement of the visitors that enter the interior space.
  • The Root....(blue-eyed)
    The Root....(blue-eyed) 2004
    Sculpture 2004
    Evergreen House, Johns Hopkins University, Baltimore MD
    Wood, fabric, photocopy paper, light, plantings, seed pods, dried roots with video.15'x10'x10'
  • The Root....(blue-eyed)
    The Root....(blue-eyed) 2004
    Sculpture 2004
    Evergreen House, Johns Hopkins University, Baltimore MD
    Wood, fabric, photocopy paper, light, plantings, seed pods, dried roots with video.15'x10'x10'
  • The Root....(blue-eyed)
    back view of the interior garden

Installation/Performance 2008-2005

Frequencies for Darwin takes the form of a small theater that contains a voice activated, vibrational instrument. This project contains a participatory sculptural object that harks back to the parlor games of the 19th century. The work invites the viewer to sit and speak into the microphone to communicate with the common earthworm. The glass jar contains approx. 1000 red wigglers (a variety of earthworm), who, with time will move in response to the vibration of the glass. The work is inspired in part by the experiments of Charles Darwin with worms and vibration as discussed in his seminal book "The Formation Of Vegetable Mould, Through The Actions of Worms".
We have much in common with the earthworm. Worms respond to vibration, such as the patter of rain or the pecking of the birds on the earth. Humans also communicate with vibration, via the vibrating folds of the larynx, and the vibration of sound transmitted through the air.
  • Frequencies for Darwin (vermi conversation) 2006
    Instructional card for performance.
    In this installation the participant is invited to talk and listen to worms via a sculptural
    instrument. The worm filled glass jar has been modified with an audio speaker that
    vibrates when the participant speaks through the microphone. This work is inspired in
    part by the experiments of Charles Darwin with worms and vibration as discussed in his
    seminal book "The Formation Of Vegetable Mould, Through The Actions of Worms".
  • Frequencies for Darwin (vermi conversation) 2006
    1000 red wigglers, microphones, amplifier, red light.
    In this installation the participant is invited to talk to worms via a sculptural
    instrument. The worm filled glass jar has been modified with an audio speaker that
    vibrates when the participant speaks through the microphone. This work is inspired in
    part by the experiments of Charles Darwin with worms and vibration as discussed in his
    seminal book "The Formation Of Vegetable Mould, Through The Actions of Worms".
  • Frequencies for Darwin (vermi conversation)
    (detail of installation)
    This image shows the modified speaker which amplifies the voice via the microphone and vibrates the jar of worms. Because the worms are light sensitive they are placed in red light to allow the participant to see them respond to the vibrations.
    We have much in common with the earthworm. Worms respond to vibration, such as the patter of rain or the pecking of the birds on the earth. Humans also communicate with vibration, via the vibrating folds of the larynx, and the vibration of sound transmitted through the air.
  • SonicWormWagon
    Conflux Festival of Psychogeography
    Tompkins Square Park, NYC 2009
    modified red wagon, 500 worms, audio 2009
  • Symphonic Stitch
    Symphonic Stitch is an interactive installation and performance with projected light and sound. The project invites the visitor to participate as part of a musical knitting circle. The knitter’s needles are equipped with tiny microphones, which amplify the percussive nature of the knitting process, capturing the rhythmic counter point of the participant’s hand movements. The sound generates a projected visual that references the body's physiological system. The installation reveals the synchronicity connected to needlework and creates an environment that is an aural and visual manifestation of the participant’s collective process and a symphonic expression of the craft.Participatory installation and performance
    knitting needles, yarn, audio equipment, interactive media(MaxMSP), video, modified suitcase


  • Symphonic Stitch
    Symphonic Stitch is an interactive installation and performance with projected light and sound. The project invites the visitor to participate as part of a musical knitting circle. The knitter’s needles are equipped with tiny microphones, which amplify the percussive nature of the knitting process, capturing the rhythmic counter point of the participant’s hand movements. The sound generates a projected visual that references the body's physiological system. The installation reveals the synchronicity connected to needlework and creates an environment that is an aural and visual manifestation of the participant’s collective process and a symphonic expression of the craft.Participatory installation and performance
    knitting needles, yarn, audio equipment, interactive media(MaxMSP), video, modified suitcase


  • Apparatus for Orchestral Knitting
    Knitting Jam at Atomic Pop. Baltimore, MD 2007
    Featuring the portable, in a suitcase version of the apparatus.
  • Apparatus for Orchestral Knitting
    Musical Knitting in Fairmount Park, Philadelphia Pa. 2010
    This is a mobile street or garden version of the project. A battery powered amplifier allows me to travel to street corners and parks.

Scentorium (olfactory factory)

Scentorium (olfactory factory) is a performance and installation project about smell perception and geography. It is an ongoing work (started in 2002) that takes many forms, including an on-line interactive map and survey to collect smell data. www.olfactoryfactory.org. This work has been exhibited as an installation and performed in Baltimore, St Petersburg, Russia, Tokyo, Japan and New York City.
  • Scentorium
    The Scentorium is pictured here installed as part of the Out of Place exhibit at University of Maryland, College Park, MD 2007. The gallery visitor is accessing the on-line survey.
  • Scentorium (olfactory factory) 2007
    A gallery visitor entering survey info to be included in the Global Smell Map.
  • Scentorium(olfactory factory)
    Side view with "prepared" radiators, which include thermodynamic smell specimens.
  • Scentorium performance
    As a Smell Hostess, I blindfold a willing participant and various olfactory specimens are placed under their nose. They are asked a series of questions connected to the specimens. I specifically ask them not to try to identify the specimen but to simply respond to the scent and the memory it may evoke.
  • Scentorium performance
    On Charles Street, Baltimore Md 2005 as part of the High Zero Festival.
    My assistant records the response of the participant. Later the responses are read back to the visitor.
  • Scentorium performance
    At the Baltimore Farmers Market
  • Essence (olfactory factory)2004
    In Japan, the project took the form of a survey with multiple performances titled Essence (with Mami Takahashi) and culminated with a larger collaborative Scent Salon at the International House in Tokyo. In Japan, the response was tremendous. Pictured here the Essences are visiting the sites directed by the Japanese survey cards.
  • Essence (olfactory factory)2004
    In Japan, the project took the form of a survey with multiple performances titled Essence (with Mami Takahashi) and culminated with a larger collaborative Scent Salon at the International House in Tokyo. In Japan, the response was tremendous. Pictured here the Essences are visiting the sites directed by the Japanese survey cards.
  • Olfactory Factory
    Smell Map page
  • Olfactory Factory 2002-ongoing
    Smell survey card. The survey card and on-line survey is used to collect data and identify potential specimens for the installations. The on-line survey also directly uploads the visitors smell data to the Global Smell Map.

Bozo Prison (for four or more)

Bozo Prison(for four or more) is a architectural follie/theater in the shape of a clown. Four or more performers are invited to perform in the cages to yell, shout or scream insults and angry words at the viewer. It is a vessel for venting and airing one's angst.
Created in 1999 as part of Artscape.
  • Bozo Prison(for four or more)
    Sculpture
    Baltimore,MD1999
    wood,fabric,paper,light,sound,fourperformers
  • Bozo Prison (for four or more)
    Sculpture
    Baltimore,MD1999
    wood,fabric,paper,light,sound,fourperformers
  • Bozo Prison (for four or more)
    Installed at MICA 2009 (with performers)
  • Bozo Prison (for four or more)
    Detail of performer.
  • Bozo Prison (for four or more)
    The structure is comprised of four stacked levels or cells. This image shows three performers.
  • Bozo Prison (for four or more)
    Detail of door and lower cell. (Reception, Diagnostic Classification, Center)
  • Bozo Prison (for four or more)
    Detail of head. The head is constructed of wood, fabric and paper. It lights up at night.

Sculpture (more Rotten Enchantments)

These illuminated Sculptures often contain interior spaces for events to occur. I consider them small theaters for a performative act or an interaction. They are built, similarly to a lantern or kite in multiple forms, then stacked. The surface of the work is photocopy paper, that I wheat paste onto the surface. These papered surfaces often contain a conceptual element or a reference point for the work. All these sculptures have an accompanying sound track.
  • Dolly
  • Dolly
    Sculpture 1997
    8'dia. x 25'ht.(lit at night)
    wood,fabric,paper,light,sound
  • Dolly
    Dolly
    Sculpture 1997 8’dia. x 25’ht. Wood, fabric, paper, light and sound
    Artscape Festival of the Arts, Baltimore, MD
  • Sweetie
    Sculpture 1998
    Wood,fabric,paper,plexiglass mirror, light, sound
  • Sweetie
  • Sweetie
    Sculpture 1998
    Wood,fabric,paper,plexiglass mirror, light, sound
  • Tower of Babel/Chance Encounter and alot of blah blah blah
    Tower of Babel/Chance Encounter and alot of blah blah blah
    Sculpture/Architectural Folly 1993
    Wood, fabric, paper, light, sound
    Artscape Festival for the Arts
    Baltimore, Maryland
  • Tower of Babel/Chance Encounter and alot of blah blah blah
    Tower of Babel/Chance Encounter and alot of blah blah blah
    Sculpture/Architectural Folly 1993
    8'Dia X 30'Ht
    Wood, fabric, paper, light, sound
    Artscape Festival for the Arts
    Baltimore, Maryland

Installation/Performance 1990-1989

  • Matriarchical Maze
    Sculpture/Installation
    Artscape Baltimore, MD
    30'x30'x8'
    wood,paper,fabric, audio, beehive.
    walk through maze with interior beehive
  • Matriarchical Maze
    Sculpture/Installation
    Artscape Baltimore, MD
    30'x30'x8'
    wood,paper,fabric, audio, beehive.
    walk through maze with interior beehive
  • Matriarchical Maze
    Detail of papered surface.
  • MissConstruct
    Performance 1990
    Cutting a tab of butter with an chain saw
    PS122
  • Workshop of Filthy Creation
    Performance 1989
    Theatre Project, Baltimore MD
    Baltimore Museum of Art 1991
    the Painted Bride Theatre, Philadelphia 1992

    Performance based on Mary Shelley's Frankenstein
    6 performers
  • Workshop of Filthy Creation
    Drilling an egg
  • Workshop of Filthy Creation
    Performance 1989
    Theatre Project, Baltimore MD
    Baltimore Museum of Art 1991
    Painted Bride Theatre, Philadelphia 1992

    Conceived and Directed
    Performance based on Mary Shelley's Frankenstein
  • Fugue Chamber for Amnesiacs
    detail of inner chamber
    The inner chamber where I offer therapy

    Installation/Performance
    15'diameter 1994
    School33 Art Center
    Baltimore, MD
  • Fugue Chamber for Amnesiacs
    Detail of framed inspirational suggestions
    Installation/Performance
    15'diameter 1994
    School33 Art Center
    Baltimore, MD
  • Fugue Chamber for Amnesiacs
    Installation/Performance
    15'diameter 1994
    School33 Art Center
    Baltimore, MD

    Delaware Museum of Art 1996 (pictured)
    Washington Project for the Arts