We recently moved into 1950’s Camp Blanding house after living in the same little elderly Duckpond apartment for sixteen years. As with any new home, the change brings the unexpected-- some blindingly lovely (like our new neighbors and their respective pets, Skip and Verb) and some requiring a good bit of Youtube diving and donning a Dickies uniform to get very dusty and dirty to fix. In the evenings, filling a small sketchbook of watercolors grew into these few paintings. Checkered tiles were soon supplanted by other more mysterious repeating shapes, until I realized they resemble the shadows on the yet-to-be-replaced blinds in the windows. The vivid colors emerge in a welcome counterpoint to my older more muted work as the new home reveals new light.

watercolor and vinyl transfer on paper

This series of painting were begun after learning to play Pickleball last year. Besides the liberating feeling of play, the grids of the courts and the ways the lines and shadows of multiuse courts—especially tennis and pickleball—interacted in compelling ways. The milkpaint I use is a similar texture and color as most court paint and all are directly inspired by courts I've played across the country. Goldpowder pigment lends a sheen that shifts depending on where you stand.

Objects of Care, is a dialogue between pluridisciplinary visual artists, Erin Curry and Anastasiya Zolotukhin proposed by Louisa Aarrass. This curation is a reflection on handmade objects and materiality, earthly materials rendered into the digital realm.

A poetic reinterpretation of historical greenhouses, Limonaia, reunites the polyseme of “conservatory” as distinct spaces for musicians and plants into a single place of respite.

film photography hand processed with Caffenol of studio atmosphere

Newsweavings (series excerpt)
handwoven paper yarn and 1960’s LIFE magazines 11×14” (ongoing)
2018-2020

Ever present news cycles can imply everything is new, fresh, urgent. In working with LIFE magazine material from the 60’s and 70’s ongoing sagas of athletes protesting institutional racism and climate change concerns bring the cyclical reality of the news into view, in weaving them in to fresh cloth the old news is remade, illegible, but the same material.

Cyma was created to double as artwork and acoustic treatments inside Pulp’s two recording studio spaces. The visual design takes cues from Brian Eno’s intentions with ambient music in that it “induces calm and a place to think.” The work recedes when artists need to focus and provides a place for the eye to alight when needed.

Mobilis in Mobili, a large-scale interactive installation, stands as a handbook for the digital castaway longing for connection. The project consists of five large hemispheric- basins that fill a dark space lined with hanging screens of dark-blue silk gauze. The white plaster-cement basins are filled with light and water, the surface is veiled with a floating layer of indigo-blue oil resembling the cosmos. The surface of the oil is shared with wooden rings that hold back the oil to act as circular “portholes” to view collages and text within the basins. The invitation is extended beyond merely looking, to also touch and direct the rings.

Recently I had a wisdom tooth filled with silver. What are the vessels and measurements for wisdom? How do our bodies become tools for orientation within a space of the unknown? How do we traverse the meditative paths? I made an etching with a grid using the length of my filled wisdom tooth and marked the lines with finely spun silk thread spun by hand on my spinning wheel. The project required 3000 ft of two ply thread which I touched its entire length 9 times in the act of creating the mark on the plate. The etching of plate managed to capture the individual fibers of the silk, just 10 microns thick.

Handmade cloth, particularly when gifted, extends its protective qualities beyond physical toward psychological/emotional protection. The composition of this was influenced by the back and forth dialogue found in text messaging and photos. We usually consider them private conversations, but with fewer civil protections on electronic devices, privacy is no longer a given. I'm mulling over the implications while making something attractive and protective.

Arche.typecast cast abstract comic made with plaster, graphite, detritusinfluenced by punch cards, quipus, sailing and burial grounds

Temporary installation for Tatsuya Nakatani for Elestial Sounds Prototype series including wall treatment. Moon Saucers: Graphite on Duralar stretched on wire frame.

Abstract Comic
oil paint, graphite, and Xerox collage on vintage paper with digital text
published as Detritus in Ink Brick #7
8.5 x 11 inch each

After Image is an experimental collaborative work between choreographer, Joanna Mendl Shaw, and visual artist, Erin Curry, and dancers at the University of Florida addressing the territory between dance and drawing for 2016 SwampDance Fest. The content of the performance is informed by S.A. Andrée failed arctic expedition via hot air balloon in 1897. Appropriate to the collaborative process are intertwined themes of terra incognita, navigation, hubris, risk, and failure where the stage/drawing and dancers/markmakers engage in dialogue where one cannot by left unmarked by the other.

"So Far" is a phrase that can be two opposing things. On one hand it means "up to this point" and on the other it relays something in the distance. Whenever we think we we have landed, we have ever more to explore. Within the space of this room whose edges are softened by silk panels, a shadow-horizon bounces us back into the place we’ve landed. I invite you to gaze into the illuminated craters veiled by a layer of tinted white oil. Floating “lenses” allow you to view the grid of the mapmaker and fragments of collages below. We gaze into craters left after some mysterious impact. In these craters the images have missing parts, stories with hollowed out cores. 

So Far installation
stained fabric, plaster basins, water and tinted Oil, wooden rings, mylar drawing stretched silk, transparency collages, LED lights, projected animation

This abstract comic book is an unofficial sequel to Cy Twombly’s Poems to the Sea. This is the sounding and imprecise mapping of what lies between us, the surface, and the void. 24 pages, Federal Blue ink, Risographed, Saddle-stitched - Published by Ley Lines. Copies available in Shop

Four Panel abstracted comics spray paint, gesso and graphite on/under duralarpublished for 4Panel Project in Carousel Magazine.

“maybe we are the door” is an interactive sculpture with plaster basin, liquid, wooden rings, light. Title and drawing text drawn from the hidden text in my junk mail folder

The movement and presence of stars are material we’ve use for millennia to mark our place in the world and navigate by. During a research trip to Ireland two years ago I visited the derelict home of my great-grandfather. As I travelled through the country, I found myself surrounded by people with the same abundance of freckles as I have. Our chaotic skins seemed to make up for the lack of stars so often obscured by the cloud cover common there. This abundance tied us to the landscape, and in response, I photographed my own freckles and made a paper map of them, interleaving pressed wildflowers as constellations (Figure 8). The paper maps hang above head-level to replace the naturally found drawing of stars in the sky with constellations of freckles. Thus I tied my inherited physical traits to the landscape of my ancestors.

The drawings in what I might have said respond to a paper origami balloon I kept in my pocket over several weeks. The paper balloon functions as vessel for breath, as well as potential container for words and phrases that cannot be adequately articulated. The air in them becomes pregnant with possibility. The drawings borrow their compositions from the creases left in an unfolded balloon. The marks found in each panel are systemized codifications of text from an old book never read. The marks become asemic, suggesting story and cadence, but denying specifics. They abstract into constellations, map-like and star-like at once.

“Writ on Silken Seas” is a sculptural tribute to the labor of waiting. Hand-dyed silk stretched over bamboo rods and then smocked with sewing pins to make an irregular (binary) pattern on the surface. Next to the growing pile of framed silk are more materials, more silk, more bamboo, pins glitter in a wooden bowl.  As a “performance in stasis” the maker is not present, it’s not clear if the work is being made or unmade. The labor of writing and the labor of waiting coexist in my retelling of the story of Penelope weaving and unweaving her cloth while hoping for the safe return of Odysseus—perpetual rewritten love letters never sent, edited and re-edited ad nauseam.

“scratching the surface” abstract comic
graphite, white pastel, tape, whiteout tape on translucent mylar