My work is in significant transition. For nearly two decades, I have created sculptural vessels loosely influenced by ancient Chinese bronze forms, specifically, the bronze vessels of the Chinese Shang (1700 - 1000 BCE) and Zhou (1045 - 221 BCE) dynasties. Several motifs have been adopted from those ancient bronze works as a basis for form, not simply as a decoration applied to the form.

Then about seven years ago, I began to develop ideas for small sculptural “shrine” wall pieces constructed primarily of metal and clay, incorporating photographs and some found objects.   The content of the work dealt with very personal issues: issues of motherhood fears and family loss. As the ideas have percolated, I have become interested in my family’s ancestry and the ways in which ordinary people, both men and women, have become invisible to current generations.  

These pieces have parts with which the viewer should interact.  Since it isn’t customary for a viewer to touch an art object, people who do not breach this norm will not discover the additional clues to the content of the work. This discomfort with breaking the typical gallery norm of “not touching the art pieces” is analogous with the discomfort of the discovery process.  Not all knowledge discovered is comforting to the searcher; not all family issues are settling.