Enso, the Japanese word for circle, is my inspiration for imagery. It is a sacred symbol in Zen Buddhism, embodying infinity and perfection. I am very attracted to this mystical aspect as well as its paradox of imperfection; and use the circle, reinterpreted in both positive and negative space, as shared language connecting body to mind and spirit. In a struggle over demolition and development, my art making involves two distinctly opposing procedures: burning holes in material and constructing discrete components into compositions.
Other works are my burnt map series that counter balance as well as inform these molecular works. Maps offer the implicit promise of direction. Symbolizing more than just destinations or the exterior world, and composed of vascular systems and arteries, maps act as proxies for our physical selves. I operate on old, torn maps, borrowing from the surgical procedure of trephination. This ancient technique of boring circular holes into human skulls was used to release evil spirits and cure mental disturbances. A soldering iron is my trephining tool to burn holes in order to regenerate maps. Producing location displacements, the holes subvert any ability to communicate coherent information, but layering of maps form passageways into internal spaces leaving open possibilities for uncovering lost areas. I also work with the amputated map discs, piecing them together to integrate the fragments into a whole.