Open House

Open House 1, 2001, 22 x 30 inches, Limited edition 20 Aquatints.

Charvonnel inks, Powdered gold etching ink and Gold relief edge, Rives paper, VanDeb Editions.

Exhibitions: Whitney Art Works, Greenport, NY 2002; The Space, New York, 2002; Affordable Art Fair, 2002 and 2003.

Collections: City of Seattle and private collections.

Based on the sculptural installation, Open House.
Open House 1, 2001, 22 x 30 inches, Limited edition 20 Aquatints.

Charvonnel inks, Powdered gold etching ink and Gold relief edge, Rives paper, VanDeb Editions.

Exhibitions: Whitney Art Works, Greenport, NY 2002; The Space, New York, 2002; Affordable Art Fair, 2002 and 2003.

Collections: City of Seattle and private collections.

Based on the sculptural installation, Open House.
Open House 1, 2001, 22 x 30 inches, Limited edition 20 Aquatints.

Charvonnel inks, Powdered gold etching ink and Gold relief edge, Rives paper, VanDeb Editions.

Exhibitions: Whitney Art Works, Greenport, NY 2002; The Space, New York, 2002; Affordable Art Fair, 2002 and 2003.

Collections: City of Seattle and private collections.

Based on the sculptural installation, Open House.

Drawing Rooms

Drawing Rooms, 2002, 11.5 x 8 x 19.5 feet, cord, room, wool, plexiglas, Art Resources Transfer, Inc.

The installation is a walk-in drawing of two conflicting "room" spaces. Borrowing the furnishings and the intimacy of the Van Gogh painting "Bedroom," the work creates an environment for perceptual play.
Drawing Rooms, 2002, 11.5 x 8 x 19.5 feet, cord, room, wool, plexiglas, Art Resources Transfer, Inc.

The installation is a walk-in drawing of two conflicting "room" spaces. Borrowing the furnishings and the intimacy of the Van Gogh painting "Bedroom," the work creates an environment for perceptual play.
Drawing Rooms, 2002, 11.5 x 8 x 19.5 feet, cord, room, wool, plexiglas, Art Resources Transfer, Inc.

The installation is a walk-in drawing of two conflicting "room" spaces. Borrowing the furnishings and the intimacy of the Van Gogh painting "Bedroom," the work creates an environment for perceptual play.

Corner Corner

Corner Corner, 2002, dimensions variable, wool with paper wrapper, push pins, room corner.

A series of yarn drawings of "corners" that compete with the real corner behind them for reality. Perception is thereby the focus.

MOCA, Ft. Collins, CO.
Corner Corner, 2002, dimensions variable, wool with paper wrapper, push pins, room corner.

A series of yarn drawings of "corners" that compete with the real corner behind them for reality. Perception is thereby the focus.

MOCA, Ft. Collins, CO.
Corner Corner, 2002, dimensions variable, wool with paper wrapper, push pins, room corner.

A series of yarn drawings of "corners" that compete with the real corner behind them for reality. Perception is thereby the focus.

MOCA, Ft. Collins, CO.
Corner Corner, 2002, dimensions variable, wool with paper wrapper, push pins, room corner.

A series of yarn drawings of "corners" that compete with the real corner behind them for reality. Perception is thereby the focus.

MOCA, Ft. Collins, CO.