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LOST & FOUND
In many ways much of the work I have done has explored my own sense of place in the world. This work lingers at the intersection of past present, and future; at the intersection of the world as it is experienced in the moment, and the world as it is experienced in traces left by images and memories; at the intersection of the world as it appears in its day-to-day aspect, and the world as it at every moment has the potential to become: awesome, transformative, uncontrollable, beautiful, unlivable. This section includes work that does not neatly fit into other categories. It includes older work, as well as collaborative and curatorial work.
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threshold
2007, Threshold, in collaboration with Min Kim Park, Masumi Shibata, and the MIND Institute, explores the relationship between our external experiences through the skin (touch) and our internal mind (thought). Using a touch screen the artists have set up an interactive interface for the viewers to trigger off video images by placing their hands on a clear screen devoid of images. The ‘touches’ activate images projected on a wall that in turn touch the eye and the mind. Many of the images were taken from Dr. Rex Jung's research at the MIND Institute.
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survivalist
1999, A show curated with Harrell Fletcher about feeling sketchy about earthquakes, and Y2K. The exhibition took place in the fall of 1999 at Southern Exposure in San Francisco. The show initiated with a series of survival kits we were trying to design for specific personalities. Some artists included in the show were Heidi Brant, Chris Johanson, J. Morgan Puett, Jim Roeber and JP Villegas.
   
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meraki
1998, Wooden box 11”x14”x 9”(deep) stands 37” high. LCD video screen, sound,
28 porcelain eggs, metal stand.“Meraki” is a Greek word meaning both ‘sorrow for not accomplishing something’ and ‘to make something with love’.
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subliminal dreams
1997, During a residency at the Headlands Center for the Arts in Sausalito California, I invesitigated subliminal messages, and self-help tapes. This installation included army barrack style cots with audio for the viewer to listen to. Audio was taken from subliminal tapes for quitting smoking, improving one’s memory, and increasing one’s wealth.
  
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trouble in toyland
1998, Artists Elizabeth Stephens, E.G. Crichton and I were invited to help launch a new Gender Studies program at the University of the Pacific by creating a site specific installation for the Reynolds Gallery. We investigated the dysphoria of gender through the trope of toys, querying students as part of our research.
  
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bounty
1996, 31 galvanized tubs, mixed media contents, audio and video. Bounty created with E.G. Crichton was a multimedia installation at the Fairfield Art Center in Fairfield, California. We explored notions of prosperity and deprivation through local history, recorded stories from residents, video of Fairfield. Visitors were invited to keep the “bounty” in flux by taking something from a tub, and leaving something behind.
  
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the magician
1994, Installation at ATA in San Franscisco. Store front display included a galvanized tub of apples, a straight jacket, an apple tree, and books about magic checked out from the San Francisco public libraries. Piece inspired by Houdini and the study of magic.
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vespers
1991, 28 loaves of bread, glass, film projector, cotton cloth. Installation included bread that was made over the period of 28 days in January 1991; each loaf of bread was baked at sunset. Film images are of the artist making the bread and the rows of bread extended beyond the physical space. There are images of maps overlayed with images of human physiology on each bread loaf.
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