Exploring time, space and geometries, my practice investigates how landscape can exist in many forms and dimensions.

Sensory input is translated through the hand, usually through drawing. Art is thought manifested. I follow my instinct and my brain to communicate ideas. The analog leads to the digital and loops back again. Through high resolution scanning, I excavate the depth of my marks, alter their scale and transform them into 3D objects, creating “dimensionalized” drawings. The tools of technology explore line—pull it off the page, twist it and turn it. I do not impose a hierarchy on media but rather incorporate painting, video, sound, sculpture and photography into my practice.

Charles Sanders Peirce, the 19th-century American philosopher, theorized that human communication and cognition are based on the use of signs—specifically the index, icon and symbol. The index, in Peirce’s semiotic framework, is thought physically manifested. The index leaves a physical trace.

In making the series Helicopter Drawings (2010), I sought to capture visually the visceral feeling of flying in a helicopter. In the air over the mountains of South Africa I sketched while moving through time and space. The constant movement of the craft, turning, climbing, descending rapidly, hovering, coupled with the wind, affected the mark. The record of the pressure of my hand on the pen and paper is the index of my experience. Scans of the drawings registered the relative amounts of ink absorbed by the paper; thus the peaks and valleys are the landscape of my body in flight. The resulting digital images continue to be a generative source of my work, influencing the PERforation series, Fractal drawings and paintings, BEARINGS DOWN and The Landscapes Within the Landscapes.

I seek ways to map experiences and to navigate the spaces in between—where we all search for bearings. These paths can be mathematical or geometrical in nature, leading to my Fractal drawings, or they can be intuitive to me. The multimedia work INSIDE MY HEAD: A Contemporary Self Portrait (2013) began with MRIs of my brain. Beset by migraines since childhood, I animated these high-tech images of my internal landscape and projected them on concave screens. The piece is a self-portrait rendered from the inside out, an intimate view of my personal topology. Altered and viewed in alternative scale, the images evoke the cosmos and its starscapes, from which we evolved.

Attention. The most astonishing and numinous features of life are accessible when our senses are “a tip toe.” Each face, a pattern in the sidewalk, a scrap of paper—all hold possibility for insight. We stand on sacred ground and it does not exist in a new virtual app.

My PERforation sculptures—in bronze, alabaster, wood are based on the ripped, perforated edges of paper torn from my spiral sketchbook and magnified, so for the sculptural centerpiece of TRANSPOSITION: Over Many Miles the Miami Design District. The outdoor installation in the Miami Design District was made to a scale of 25 feet from salvaged wood. By using the raw material from which paper is produced, I completed the poetic cycle.

My work is inwardly and outwardly directed, reflecting my deep concerns about social justice and climate change. I Am Not Invisible (2016) is comprised of signs handmade by homeless people, who consented to sell them to me at prices they set themselves. In most cases, the cardboard placards plea for help of some kind; many also quite poignantly express good wishes to passersby. Another piece, Humble Oil: Don’t know what you got (till it’s gone) (2016), which was included in the 2016 For Freedoms super PAC group show at Jack Shainman Gallery in New York, recreated a 1962 print ad in which Humble Oil bragged about supplying enough energy to “melt 7 million tons of glacier” every single day. I believe the power of art can transcend politics, culture, race and gender to provide places to reflect, connect and heal.