Renouncing the Web
Gill Library Exhibition Hall, The College of New Rochelle, New Rochelle, NY
November 5 - November 19, 1995
New York Law School, Group Exhibition, New York, NY
June 31 - September 15, 1996
TAI Gallery @ The Actors Institute, New York, NY
May 8 - June 7, 1997
The work in this series is intended to be hung one foot away from the wall, suspended from the ceiling by invisible wires or cables, and under direct lighting, in order that a contrasting shadow reflects upon the wall behind each piece. In the Gill Library Exhibition Hall installation, there was also an insect screen overlay on every window opening, and fly paper was hung around the upper perimeter of the room to make the viewer feel like part of the installation, an insect.
Artist Statement
Insects are most commonly regarded as pests. They are small, delicate and overlooked despite their complex individual characteristics. People tend to trap or kill them because they often find themselves repulsed by and unable to confront the raw ugliness of insects. In this way, insects can be metaphors for the soul or inner being, as the soul is similarly intricate and unrefined.
External appearances, however, are dealt with haphazardly in society. People, especially women, are often primarily judged for the way they look. Typically, in the dictatorship of our society, physical beauty is considered a virtue and ugliness is an unfortunate disfigurement. However, this realization should not be cause for the complete rejection of the physical, even though the first instinct in correcting this problem may be to reconsider physical appearance to be superficial and therefore disregarded. I don't believe the two can be separated. Instead, perhaps we can suture our souls back onto our bodies and by renouncing the web (society), the internal and external of our Selves can work together. Through the conscious merging of the physical and the spiritual we can create our own complete being, free from the sticky predatory laws of society.
A selection of prints are available for sale from this series at imagekind.com. Click on the link below for more information.
Renouncing the Web, 1996 - Installation View I
Metaphors are used throughout the construction of my artwork. The frames are interpretations of external appearances of people, while the insects act as symbols of the Self's complex, intimate nature. All of my artwork reflects my own personal struggle as a woman in today's society. Although I use my pieces to communicate how my appearance as viewed by society affects me as a woman, I try to keep my work ambiguous in order that any viewer may identify with it. In Hardhearted Bitch (Monarch Butterfly) the four-inch nails protruding from the frame are representational of a defense mechanism within my personality that reacts at times when my psyche is growing or going through transformation.
Metaphors are used throughout the construction of my artwork. The frames are interpretations of external appearances of people, while the insects act as symbols of the Self's complex, intimate nature. All of my artwork reflects my own personal struggle as a woman in today's society. Although I use my pieces to communicate how my appearance as viewed by society affects me as a woman, I try to keep my work ambiguous in order that any viewer may identify with it. In Hardhearted Bitch (Monarch Butterfly) the four-inch nails protruding from the frame are representational of a defense mechanism within my personality that reacts at times when my psyche is growing or going through transformation.
Renouncing the Web, 1996 - Installation View II
To assist the view toward more analytical thinking about a piece, I consider every aspect of my work to be a sort of clue in a philosophical game. For instance, the way a particular person may perceive the cockroach in Haughty Debutante (Common Cockroach) differently from another opens the possibility for a whole new array of conclusions that the viewer might identify with. Satirically creating a dichotomy between the components of the frame and the painted stretched chiffon, this series hopefully opens the viewer's consciousness to help reconsider the relationship between a human's inner and outer experience in the world.
To assist the view toward more analytical thinking about a piece, I consider every aspect of my work to be a sort of clue in a philosophical game. For instance, the way a particular person may perceive the cockroach in Haughty Debutante (Common Cockroach) differently from another opens the possibility for a whole new array of conclusions that the viewer might identify with. Satirically creating a dichotomy between the components of the frame and the painted stretched chiffon, this series hopefully opens the viewer's consciousness to help reconsider the relationship between a human's inner and outer experience in the world.
Renouncing the Web, 1996 - Installation View III
The praying mantis in Jezebel's Benediction (Praying Mantis) has a dichotomy within herself that adds to the contradictory twists throughout this fun piece. The female mantis, as is commonly known, devours the male after the mating ritual. This is an ironic act considering her graceful appearance and innocent name. Juxtaposing the mantis' own intrinsic contradictions as an insect with erotic lingerie helps layer the clues I've given in this piece, and hopefully stimulates abstract thinking. When hung as originally intended, a mysterious shadow reflects upon the wall imitating Jezebel's benediction. As such, the shadow introduces yet another clue encouraging the Post Modern contemplation of this work.
The praying mantis in Jezebel's Benediction (Praying Mantis) has a dichotomy within herself that adds to the contradictory twists throughout this fun piece. The female mantis, as is commonly known, devours the male after the mating ritual. This is an ironic act considering her graceful appearance and innocent name. Juxtaposing the mantis' own intrinsic contradictions as an insect with erotic lingerie helps layer the clues I've given in this piece, and hopefully stimulates abstract thinking. When hung as originally intended, a mysterious shadow reflects upon the wall imitating Jezebel's benediction. As such, the shadow introduces yet another clue encouraging the Post Modern contemplation of this work.
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Addict (Glow Worm), 1995
18" x 36" Oil on Chiffon; Cigarettes on Balsa Wood  |
Disjointed Enigma (Ant), 1995
17" x 25" Oil on Chiffon; Puzzle Pieces on Balsa Wood  |
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The Fisher King's Fool, 1994
28" x 36" Oil and Tulle on Canvas  |
Psyche's Pith, 1994
28" x 36" Oil and Chiffon on Canvas  |
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Intrinsic Beauty (Earthworm), 1995
31" x 43" Oil on Chiffon; Various Flowers on Tree Branches  |
Temporal (Caterpillar), 1995
30" in diameter Oil on Chiffon; Dried Fruit on Wire  |
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Hardhearted Bitch (Monarch Butterfly), 1995
20" x 20" Oil on Chiffon; Galvanized Nails  Haughty Debutante (Common Cockroach), 1995
24" x 47" Oil on Chiffon; Rhinestone Appliques on Mirror Frame |
Prosaic Worker (Honey Bee), 1995
20" x 20" Oil on Chiffon  Imperviously Bound (Winged Walking Stick), 1995
26" x 38" Oil on Chiffon; Rope and Chain |
Jezebel's Benediction (Praying Mantis), 1995
30" x 18"
Oil on Chiffon; Lingerie on Wood Dowels
30" x 18"
Oil on Chiffon; Lingerie on Wood Dowels
