In Case of Emergency…Store in a Cool, Dry Place, 2013, Vintage gas masks, letterset, tinted wax. Collection of the artist.
Untitled, 2008. Air dried modeling clay slightly smaller than human scale, commissioned prop for the film Deadly Impact.
Three-dimensional Flow Chart of Euclid’s Elements, Book 1, 2003, On permanent installation in Meem Library, a gift from the artist to St. John’s College, Santa Fe, NM. A response to an assignment in freshman mathematics class. It is the artist’s interpretation of the structure of logic that is put forth by Euclid in his Elements, and is accompanied by a kind of key, or legend, made available at the library’s circulation desk. The sculpture shows the interconnections of Euclid’s first forty-eight propositions and is based on how often the logic of each proposition gets called upon to support the subsequent propositions. Due to the nature of the curriculum of the college, the piece remains relevant to students past, present and future. It was offered to the college community as a launching point to conversation about the book and an ode to the mathematician who wrote it.
Untitled, 2002, Welded steel with 14 years of oxidation at the time of this photo, Gift from the artist to her welding mentor, private collection.
Untitled, 2001, Flatfile Gallery, Chicago, IL, Celluloid 4x5 positives, glass lenses, heating duct, antique cameras, infra red beam-breaker switches. Three-dimensional interactive installation of projected four-image panoramic of a lake in Pagosa Springs, CO. The projectors were mounted vertically and images projected on to the floor in a dimly lit room. Projectors could be triggered by observers walking through the space. There was one (unmarked) spot where all four projectors could be triggered simultaneously by a single observer. The piece was installed a second time for Ladyfest Midwest (Artemisia Gallery, Chicago, IL) where the projectors were mounted horizontally on fabricated steel stands and images were projected on a wall. This version of the installation required a minimum of two observers to trigger all four projectors simultaneously. In both installations, the beam-breaker switches were hidden so that it was not obvious to the observer that they were in control of the projections.