Flowers have dominated much of my sculpture and prints over the past ten years. My first floral works were silk, and referred directly to memorials, while acting as literal monuments to feelings about myself or for people I knew. From there, they expanded into a territory of greater fantasy, promoting gardens that denied death through their blatant artificiality.
The silk flower sculptures (2002-2006) consisted of wall wreaths and kissing balls, culminating with a 8 x 14 installation titled The Garden of Artificial Joy and Bliss. The kissing balls were freestanding orbs covered with a world thick with silk flowers, glitter, butterflies, and birds. At first glance, their densely covered shells spoke to one ideal of beauty. Yet, upon closer inspection the dioramas revealed something nastier was occurring, as the birds and insects seemed locked in a battle for existence amidst the fertile and sparkling landscape. I hoped for the truth of our fantasies to come to life; while our shallow imaginings may be full of shimmering beauty, the grittier realities refused to be left behind.
The wreaths, like the kissing balls, attempted to display a contradictory universe, yet were more overt in their meanings once the text was observed. Multiple heart shaped wreaths read the declarations Liar, Bully, and Slut. Bluebirds perched on a flowered tableau that displayed the word, Fraud. Other wreaths contained words such as No, Lush, Beauty, and Love.
More recent flower work is comprised of colored flower forms of my own design, cast in plastic, and suspended on heavy pins. The pins allow me to drive the objects directly into the wall to create compositions on site.