The Porn Star Academic Panty Collection This series of bronzes juxtapose academic and porn star panties. Porn stars and academics are cultural heroes. They are both in the forefront of thought and practice around issues such as sexuality, sexism and identity politics. In the academic world the brightest intellectuals are fetishized in a manner that bears certain similarities to the ways in which porn fans adore their stars. Both are sexy, powerful and compelling. This work is homage and a wink to the bravery and chutzpah of porn stars and adventurous academics who are physically and intellectually stimulating, be it in the classroom or on the silver screen.
				VIDEO TRAVEL GUIDES, WHWY Project While travelling during my interactive road trip performance piece, Wish You Were Here, I shot hours of video footage. I also collected, read, and otherwise used several travel guides to the United States in preparation for and during the Wish You Were Here Project. These Video Travel Guides mark the spot where travel footage meets travel guide to provide a purely visual experience of my journey on the road and off.
				U.S.A. QUILT American Flag, Photographs on Canvas, Denim, 10'x7' This quilt is constructed of images I photographed in each state while I was on the road performing 3 separate versions of Wish You Were Here. The images are printed on canvas and sewn together. Each state is made from an image(s) that were taken in that state. The red ribbons represent the state capitals. The map of images is backed on an American Flag.
				PRESIDENTIAL Squirting Speculums, Talking Speculum, Lab Coats, Electronics, Flag and Ink; approximately 4'x10'x6'. A series of events occur sequentially. First, one speculum squirts blue ink onto a white lab coat, then the other speculum squirts red ink onto the other lab coat, then the speculum in front of the American flag says, "I’m sorry." This piece is loosely based on the presidential fiasco between Monica Lewinsky and President Clinton but could be seen as a generic apology to the world for the many crises that the U.S. have had a hand in creating.
				SQUIRT The speculum slowly moves back and forth, intermittently spitting a thin stream of blue ink onto the lab coat. Spitting ink as an act of rebellion against the authority that the lab coat signifies represents a kind of critical freedom for artists, women and others outside the system. Over time the coat became saturated with blue ink while the pan below the piece filled with excess liquid that in turn reflected the coat above.
				WORKOUT Steel, Video, Stirrups, Motor; two frames; 8'x4'x4' each Two large gym-like frames, each with eight sets of gynecological stirrups that slowly open and close, face each other. Behind the stirrups on each frame is a bank of video monitors. The center monitors display footage of bodies in exercise. The larger outside monitors display a mouth expelling babies, houses, money and milk on one frame and on the other, a complimentary mouth is consuming these very same things. The shots are close-up, repetitive, and slow in order to examine body and consumer fetishism.
				JUMP Steel, Water, Video Projection, Sound; 14'x4'x2' A tall steel ladder looms over a small bucket of water. A video projector projects the lips of several women reading a siren-like text into the bucket. The text dares and cajoles the viewer to jump. This work was inspired by cartoon characters who would leap from tall ladders into small buckets of water, defying fear and logic, only to emerge unscathed from seemingly impossible situations. These characters were too foolish to be afraid of death and for that, I loved the
				ON THE ROAD Steel, Glass, Speculum, Straw, Video;2'x 10" This piece is composed of two boxes. The upper box holds a pink mermaid drinking straw encased behind etched glass, warning, "Only Break in Case of Emergency." The box below holds a speculum. As the viewer gazes into the speculum's lips they see video footage of the California coastline. The relationship between the boxes is a whimsical one concerning travel, thirst, and possible viewpoints into and out of both nature and the female body.
				DINNER PARTY FOR TWO Table, Chairs w/Vibrators, Video Monitors, Text; 3'x5'x2' This piece is simultaneously a homage and contemporary criticism of Judy Chicago's "Dinner Party" installation. The place settings are composed of two video monitors situated beneath red Plexiglas. These monitors display female genitalia. Scrolling over these shots is text that locates various women who Judy Chicago neglected to invite to her party. Some of these women include Emma Goldman, Lizzie Borden, Mary Read, Lucille Ball, and Valerie Solanas. Viewers activate vibrators embedding in the chairs when they sit down.
				NO REGRETS, IMELDA Bronze, Steel, Video and Motor; 5'x13"x12" The bronze high heel taps as the viewer approaches. On the face of the pedestal are two peepholes, behind which are small video monitors. The monitor on the left displays the viewer’s own feet as they watch the video. The monitor on the right combines footage of the neon sign in the window of the Lusty Lady with images of Dorothy’ ruby red slippers and other various foot and shoe worship footage.
				THE PLEASURE WHEEL OF SISYPHUS'S SISTER Steel, Video and Monitors, Motor; 11’x9’x9’ The continuously turning wheel plays video images on the monitors. These images depict a series of poetic vignettes of discreet pleasures such as pulling off rose petals that become a mouthful of pearls or a long kiss turning into water running through hands. A single staring eye that watches the viewer separates or acts as a book end to each video coupling. This work explores both the physical and virtual sites of pleasure.
				LOCATING YOURSELF IN A SEA OF IDENTITY: A CULTURAL EXERCISE MACHINE Wood, Text, Steel, Ores; 6'x8'x8' Locating Yourself was located underneath the Brooklyn Bridge, overlooking the East River and into Manhattan. The viewer/participant is invited to row the text circles into any configuration of adjectives, racial descent, gender geographical location that describes who they are or could imagine themselves to be. The multiple configurations of identity echo the multiplicity of people living in NYC. Considering different identities maintains ones cultural fitness.
				A PROPER LADY ALWAYS CROSSES HER LEGS WHILE SEATED Steel, Video, Plexiglass; 7'x2'x2' A close-up video depicting a series of erotic encounters between two females plays beneath the red Plexiglas seat. One can view this footage by standing up and gazing down or by sitting on the chair itself. The electronic components of this piece are exposed and unprotected, lending an air of danger to the piece. This physical danger compliments the ever present danger of desire.
				TECHNOLOGY IS DREAMING YOU Steel, Rope Light, Fax Machine; 28” x 32” x 6’ The fax machine is connected to an outside telephone line. This enables anyone to fax any text or images they’d like to the bed. By faxing this work in a museum or gallery, anyone can be an artist. Red rope lights blink continuously, referring to the electric circulatory system of technology. The ubiquitous presence of technology molds our dreams even during sleep.
				MY MOTHER HAD A SINGER AND HER MOTHER HAD ONE TOO Sewing Machines, Wood, Motors; 7'x6'x15 Running under low lights, these sewing machines represent the spectacle of the sweatshop and its relationship to the home. This piece is an investigation into and display of the mechanical means by which women have been able to earn income and create objects of utilitarian pleasure. It also refers to the potentially exploitative environment of the industrial and domestic workplace.