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I moved from Detroit to Brooklyn shortly after receiving my MFA from Cranbrook Academy of Art in 1990. Before that I lived in Providence while working on my BFA from the Rhode Island School of Design. And before that I lived in Kansas, Indiana, New York, Florida, North Carolina, back to Kansas, Virginia, Washington DC, Heidelberg, Munich, California and back to Washington DC. Nomad? Nomad.
Over the last 15 years, I have exhibited in university, non-profit and commercial gallery spaces here in New York and throughout the US. Along with my exhibition work, I have editioned more than 10 artist's books and was the Art Editor for the poetry journal Long News in the Short Century. Some venues that have shown my work: Wave Hill (Bronx), The Urban Institute of Contemporary Art, White Columns, The Drawing Center, Nicole Klagsbrun Gallery and Pierogi's Flat Files. I have also shown work at Kunstbunker (Nuremberg), Spaces (Cleveland), CEPA (Buffalo), Artetica (Rome), Yatoo (S. Korea), Staub (g*fzk!)(Zurich), the Milwaukee Art Museum, the Bronx Museum of Art and the Brooklyn Museum of Art.
My work is represented in the Robert Schiffler Collection, as well as many university and museum collections including the Museum of Modern Art, The Whitney Museum of American Art (Special Collections), Museum of Contemporary Art in Chicago and the Brooklyn Museum.
I'm fascinated by the blind spots in our cultural psyche that cause our errors and idiosyncrasies (yet they continue, unexamined and uncorrected). This interest has drawn me to explore many themes from murder and war to epistemology and language.
Recently, I have been captivated by Birds. Ever since I realized that it is utterly impossible for us to comprehend bird consciousness -- or "Birdness" as I came to call it -- their image and presence has taken on a new significance for me. My bird-work uses many forms, but tries to grasp that consciousness in some feeble way even as it examines our egocentric, self-serving views of them. Somehow, birds brought me to Sound. Although I continue to crave the silence of images on paper, making only silent installations feels incomplete. Life is full of such interesting, varied sounds, so why not address this? Why not orchestrate it? My installations always, on some level, embrace viewers in a particular space. What is an embrace without the breath and heartbeat?
This website is a brief introduction to my current work. Please visit my other website which presents a more comprehensive collection from the last 10 to 15 years. The address:
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