About the exhibit
My aesthetic sensibility is rooted in Central American Folk Art and the Mexican Catholic shrines of my heritage and upbringing. During my childhood in Tucson, Arizona, this was the artwork I knew and I practiced making creations in similar ways. Whether it was through my novice interpretation or some forgotten informal training I received as a child, I came to believe that ornamentation and excess denoted value and importance. Materials weren’t required to be “fine” and tools were expected to be simple. Evidence of “the hand” (the maker) was never something to be self-conscience of or craftily removed. Throughout my life, I’ve remained loyal to this style of making.
For most of my professional career, I created very large ceramic installations where passive figures occupied dense arrangements as if centerpieces to improvised shrines. While my aesthetic and process have stayed the same, I have cropped down the work over the past several years. In all, my assemblages encompass imagined, decorative conceptions of home, gardens, peacefulness, playfulness, and celebration.
While the majority of my studio practice consists of creating large-scale ceramic sculptures from recycled clay multi-fired with ceramic materials at low temperatures, I also create large mixed-media quilts where I employ various drawing, dyeing, printing, and applique techniques. Regardless of material, my embedded concepts and style are consistent. I am actively creating in both mediums.
My artworks, while not simple compositions, are simple in concept and method. At their heart, they serve as personal meditations on the ease, happiness, and beauty that outlines every day.