I use my handmade paper to create three-dimensional wall reliefs that reproduce the cataclysmic effects of nature.  Among the materials I use in my paper sculptures are plants that I harvest along streams, then boil and pound into fiber.  I include elements from nature in my work---earth, sea kelp, semi-prescious stones, whale fossils, and lichen--expressing my deep affinity for the sea, winds and tides.  I also incorporate ancestral lace from both sides of my family, and human made items as fiberglass cloth and gold foil, opposites to the natural world.  I use bursts of pigment, luster, and metallic powders along with pigmented pulp to create saturated color fields that emulate light moving over the earth.  My papermaking studio is on a deck in Big Sur where I am surrounded by a vast expanse of blue, with the Santa Lucia Mountain Range rising out of the sea at my feet.  I  created the Santa Lucia Series in response to this visual and tactile feast.

The Locus Magiquorum Series, 2004 and the As Above So Below Series, 2005-2006 explores the mediums of pigment powders and sea kelp.  Working in the manner of a printmaker I set up a flat plastic surface (my etching plate) with pigments and natural objects like kelp, then I couch the paper pulp on top. The plant fibers I work with are abaca (the inner stalk of the banana plant), cotton, hemp, kozo of the mulberry genus, and gampi (an uncultivable plant.)   As the kelp dries and shrinks, the paper fibers form into relief surfaces.  Once dry I remove some of the kelp which reveals its impressions akin to walking on wet sand along the tide-line.  The title Locus Magiquorum, latin for magic moment comes from wading into the ocean boogie board in hand, wave just about to burst, and seeing sea kelp backlit inside.  The As Above So Below Series continues with the ocean theme only working with an expanded palette, for at sunset the colors in the sky and ocean are the same.  The title also points to a spiritual belief. The title for my current series, End-Game, 2006- comes from Samuel Beckett’s play  It is almost impossible for me to wrap my mind around global finitude, to no longer perceive the magnitude of creation. Each work is blind embossed with two X’s made from duct tape.  Of Itself, 2006-  only utilizes fiber and kelp, or kelp holdfasts.  There are both wall-relief and three -dimensional sculptures in the series.  Emmanuel Kant’s philosophical term “ding an sic” ( of itself) speaks to the essence of things.  As my work dries, I hear the kelp pulling, stretching, sculpting the plant fibers, an alive-elemental-uncontrollable process, in a dance with itself.

While living in Japan and Hong Kong in the late seventies to mid-eighties I developed the Canto Series my epic spirit play with paper and dance which incorporates paper, sculpture, movement, and sound. In my current series of site specific performance pieces I cast sheets of handmade paper over whale bones which I perform with. I have also produced a series of whale bone drawings using sumi ink, calligraphy brushes,and porcupine quills given to me in Zimbabwe. In addition to creating the lines, the porcupine quills incise the paper, evoking the scratched earthen lines of early cave paintings.

In Eastern Spiritual Practices handmade paper is imbued with healing and mystical properties. It is in this spirit that I work.
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