These paintings form a series of constructed windows and broken images. They focus on opposites, like genre -still life vs. landscape- and themes involving natural vs. unnatural, rooted vs. locomotive, finding a balance.

The Altering Altarpiece project began as four memorials, each stemming from a personal loss, and each drawing from Medieval art historical and contemporary Western funerary practices. For its resolution, the project necessitated a secluded, dark room with two church pews and a slight frankincense scent. In each corner of the room, stop-motion animation videos were synched up and playing on loop; calendar pages advanced and held at four specific dates on the first screen, then a small altarpiece opened and closed to the sound of bells in another corner, and the Altering Altarpiece Animations were projected on the largest wall.

The Altering Altarpiece project began as four memorials, each stemming from a personal loss, and each drawing from Medieval art historical and contemporary Western funerary practices. For its resolution, the project necessitated a secluded, dark room with two church pews and a slight frankincense scent. In each corner of the room, stop-motion animation videos were synched up and playing on loop; calendar pages advanced and held at four specific dates on the first screen, then a small altarpiece opened and closed to the sound of bells in another corner, and the Altering Altarpiece Animations were projected on the largest wall.

These pieces are all composed of multiple smaller paintings that join together at angles, in corners, or flat walls, and provide a sculptural element to otherwise traditional paintings. Some are adjustable, some morph into new pieces, and others rely on negative space and the surfaces to which they are fixed.

Self portraits in various media

drawings

Images 1 - 5:

In 2010, I collaborated with The Copycat Theatre and numerous artists on a multi-room, multi-performance/installation piece called 'Rooms Play'. The audience, instead of watching a linear stage-like performance from a fixed point of view, passed through a labyrinth of about 20 rooms, designed/ installed/ and performed-in by the artists in such a way that a narrative could develop, yet was a completely unique experience for each viewer. The room I curated was essentially a thunder-storming forest towards the beginning of the labyrinth. I utilized timed strobe lights, a thunderous audio track, and a riddle-inquiring bridge-keeper, collaborating performer Monica Mirable.

Images 6-10:

In March 2011, I collaborated with The Copycat Theatre and 50+ artists on the 2nd installation of Rooms Play which took place during Baltimore's 8th Annual Transmodern Festival. I curated two rooms towards the end of the labyrinth. The first was a sideways evaluation clinic, the second was an upside-down recuperating room. I created a nature-themed audio track and incorporated the scents of lavender, rosemary and coffee grounds in separate corners.