7.5” x 10” x 1.5”
Canvas, Acrylic, Thread
Another object of desire for Miss Piggy is flamin’ hot junk food. She is a pig so of course, she would indulge in fried treats, but she is a pig with good taste, so she wouldn’t be one to pass up Chester’s Fries. Finger Licker is another actual sized representation of a product from daily life.
42" x 78" x 25"
Vinyl, Steel, Foam
Unable to hold itself up without the security of the wall, I Can Dress In Satin, physically with posture, and directly with language, communicates. With text imbedded into the quilting of the face, the mattress speaks for itself. An independent declaration of loneliness, "I FEEL SO LONELY WITHOUT YOU" can never escape it's own state of being.
A cast plaster floor with text carved into the tile pattern. The phrase, “What About Us” asks the viewer to consider the tiles, or whoever “us” may be, while the weight of their body on the floor literally shatters the work as the viewer experiences it.
Styrofoam, Paint, Paper Mache, Resin
18" x 48" x 11"
The sock begs the radiator to warm it. Never to function, never to heat, the radiator can never give the sock pleasure.
Detail
5.5” x 5.5” x 1.75”
Acrylic on Paper, Paint Skins
Among the representational images of Piggy and Kermit, I find it interesting to also present products from daily life that Miss Piggy may endorse. Even she needs protection. The condoms in this piece are made from paint skin, and both the box and rubbers are actual sized.
4' x 4' x 18"
Rubber, Found Material
13" x 13" x 8"
Jell-O
A basketball made of Jell-O, never to be dribbled or shot, if attempted will be destroyed. Unusable in every way, Boulder is immovable, stationary, and functionless.
9" x 8.5" x .25"
Rubber
To make an already non-violent object even more non-violent, butter knives were recast in rubber, falling flaccid under the weight of their own material.
Live Plant, Paint
Dimensions Variable
The entire live plant was evenly coated in paint. The plant is kept alive, water, fertilized, etc. in a performative ritual in the home of the artist. All of the green comes naturally from the plant as it bursts out of the hard paint exterior.
Live Plant, Paint
Dimensions Variable
The entire live plant was evenly coated in paint. The plant is kept alive, water, fertilized, etc. in a performative ritual in the home of the artist. All of the green comes naturally from the plant as it bursts out of the hard paint exterior.
Live Plant, Paint
Dimensions Variable
The entire live plant was evenly coated in paint. The plant is kept alive, water, fertilized, etc. in a performative ritual in the home of the artist. All of the green comes naturally from the plant as it bursts out of the hard paint exterior.
Live Plant, Paint
Dimensions Variable
The entire live plant was evenly coated in paint. The plant is kept alive, water, fertilized, etc. in a performative ritual in the home of the artist. All of the green comes naturally from the plant as it bursts out of the hard paint exterior.
Live Plant, Paint
Dimensions Variable
The entire live plant was evenly coated in paint. The plant is kept alive, water, fertilized, etc. in a performative ritual in the home of the artist. All of the green comes naturally from the plant as it bursts out of the hard paint exterior.
Detail
A structure of pipes emerges almost invisibly from the wall, revealing a hidden structure of the pipes underneath. Poor Thing stands somewhere between the utilitarian, in its representation and the felt, in its lumpy posture and velvety surface.
Porcelain
Porcelain
Porcelain
Porcelain
Porcelain
Porcelain
Porcelain