Mermaid I
16" x 96" x 96"
PVC, Metal
1978
Mermaid IV
16" x 72" x 72"
PVC, dyed paper piping cord, metal
1983
Mermaid II
detail
26" x 72" x 108"
dyed paper piping cord
1978
Mermaid III
26" x 72" x 108"
dyed paper piping cord
1978
Mermaid III
detail
26" x 72" x 108"
dyed paper piping cord
1978
Untitled Pedestal Piece
front view
18" x 20" x 30"
dyed and natural manila rope
1978
Untitled Pedestal Piece
side view
18" x 20" x 30"
dyed and natural manila rope
1978
Cenotaphe
10" x 28" x 34"
dyed and natural manila rope
1974
Museum Bellerive
Taue & Knoten Installation
Cicada
1976
Ahnen Galerie
five parts of ten, 16" x 15" x 50" each
natural and dyed manila rope
1977
Racine Art Museum Collection, Racine, WI, 2013
Detail
natural and dyed manila rope
1974
Sisyphe
detail
10" x 22" x 44"
dyed and natural manila rope
1974
Sisyphe
10" x 22" x 44"
dyed and natural manila rope
1974
San Mateo
pictured at 135 Greene St studio, NY, NY
Bullock's Fashion Island, San Mateo, CA
7 parts , approx 50" x 84" x 84"
manilla and cotton rope
1981
Anatid
Smithsonian Institution
Renwick Gallery Collection
18" x 24" x 56"
manila and cotton rope
1981
Ahnen Galerie
ten parts 16" x 15" x 50" each
natural and dyed manila rope
1977
VIII Biennale Internationale de la Tapisserie, Lausanne, 1977
Ahnen Galerie
ten parts 16" x 15" x 50" each
natural and dyed manila rope
ready for shipment, New York, NY
VIII Biennale Internationale de la Tapisserie, Lausanne, 1977
Ahnen Galerie
waiting to be uncovered
Court House Steps, New York, NY
ten parts 16" x 15" x 50" each
natural and dyed manila rope
VIII Biennale Internationale de la Tapisserie, Lausanne, 1977
Ahnen Galerie
Court House Steps, New York, NY
ten parts 16" x 15" x 50" each
natural and dyed manila rope
VIII Biennale Internationale de la Tapisserie, Lausanne, 1977
Braided Sculptures
I created these braided sculptures after the Inchworms. Their placement on rectangular pedestals constructed specifically for each piece, reinforces their identity as independent objects, freed from the usual support of wall or floor associated with textile antecedents (tapestry or carpet).
My sculpture is cumulative: rope upon rope, braid after braid. Caught between the linear element and a desire to go beyond, I build a volume and a surface rather than subtracting it from an existing hard mass as one would from stone or wood. In my work the surface decoration originates with the rope.
The visual effect is not unlike what happens with the relationship between the mass and the surface drawing in African sculpture.