Based on a practice of rigorous self-interrogation via meditation, activism, drawing, butoh and durational performance, these intensely subjective works, which utilize drawing & painting, dance & performance, photography, video and sound address issues of emotional intelligence, relationship, identity, memory, intimacy, and the subversion of ego. Exploring what it means to be human at the present time from a deeply personal point of view, the work aims to activate the psychological, spiritual and political potential of the self to change and to create change.


Try Very Hard

acrylic on paper, various sizes, 2014-2015

These drawings deal with the dynamics of emotional action and reaction with regard to feelings of vulnerability.


And Then There Was All That Time...

video with sound, 10m, 2012-2014

This 3 channel video piece asks these questions: What do we do with our time? Is it productive? Do we waste it? How do we spend it? Do we have regrets? Will we have regrets? Should we change course? Alter the path? We cannot see where we are going, only where we have been. How do we do the right thing? Does it matter? What do we tell ourselves to make it alright? What would it take to change? Do we care? Who is making the decisions? What are the conflicts? How will we feel about it all when it is over?


Out Of That, There Is This

video, 52s; pigment prints, 8x8" each, 2012-2014

What do we project, internalize, let out, keep hidden? How are we seen? How do we see ourselves? What words describe the nature of our internal dialogue? How does all of this change over time? The video and the still images are self-portraits that combine images of paintings with performtive photography to explore the dichotomy, similarity and overlap that exist between our internal and external existences and the remembered and current perceptions of both.


See Them

video with sound 10m, 4s 2014

This piece explores what we don't want to see in ourselves...all the scary, shameful, ugly, lewd parts of our history. They haunt us...our dreams, our memories...they color the way we see ourselves and in the way we act in the world...what we think we are capable of. This piece asks us to notice them, to look at see them. And by doing that, perhaps we can start to see ourselves better, act better, see ourselves and others with more compassion.


What We Carry

live performance, collaboration with Chonyid, 25 minutes, 2014

This performance piece explores the memories we carry with us. It was performed with Chonyid on November 11, 2014 at Unearthing Forgotten Horrors, Star and Shadow Cinema in Newcastle, England. Shots of performance and rehearsal.



acrylic and graphite on paper, 8x8" each, 2014

Memories, images, habits, thoughts, stories, behaviours...the things...the souvenirs from childhood. They stay with us a lifetime.



video, 1m; pigment prints, 10x8" each, 2013-2014

Since childhood, I have been trying to fill an existential hole in myself with all sorts of people, places and things. Hasn't worked. The video and the still images combine drawings of child-like figures (psychological self-portraits) with performative photos of my adult face, with an eye to describing the frustration of trying to fill an un-fillable space.


Am I Who I Am?

video with sound 5m, 2013-2014

Who are we? How do we figure it out? What signifiers do we use to know who we are? What happens when those signifiers disappear? Who am I without labels and categories? Am I only my feelings? I created nine drawings - psychological self -portraits. These were digitized and animated and layered with the video on which the drawings were based. These elements were combined with a soundscape that was created with sounds from a day in my life and a melody created from numbers of personal significance to create a piece which explores the complex emotional reactions to loss of identity and familiarity.



video with sound, 5m, 2013

What happens when everything changes? How do we react? Where do we dig in? What is our comfort zone? How flexible or rigid are we? These are the questions with which this video deals. This piece was created during the first 6 months after moving to a new country where everything was different and unfamiliar; and, the sense of loss and being lost was constant. It is an exploration of what it means to change, to shift, to be shifted.



pigment prints, 8x8" each, 2012-2013

How do we deal with disappointment, disillusion, rejection and fear? As I continue to explore questions of identity, vulnerability and aging, I find that there are places inside myself that I didn't know were there (or more truthfully would like to hide). I am discovering the mean, violent, spiteful, despairing and overly self-conscious parts of myself. I strongly believe I must look at myself if I am to make a difference in the world. This piece looks deeply to see the truth of that self.


Ease Me Into Invisibility

video with sound, 5m 3s, 2009-2013

This piece explores aging as a path to social and cultural invisibility. Video and digitized drawings and paintings were layered and animated to create a piece which considers the life cycle from childhood to old age and delves into the inevitability most of us face as we age, an awareness of our decrease in value. Deconstructed chords and lyrics from the hymn, I'll Fly Away were used to create the soundscape.


Let's Pretend

pigment prints, 8x8" each, 2009-2013

Let's pretend...that we are happy, that we have enough money, that we don't argue, that we love each other...and so on...all the pretty dresses and patent leather shoes in the world could never convince anyone that all was just so, that all was we pretended...but the truth had a way of just showing up and making itself at home.


Another Moment Of Silence

video with sound, 10m 20s, 2012-2013

This video explores the dichotomy between victim and perpetrator. In this deeply personal piece, I asked myself, when am I the perpetrator, the creator of violence? Where is the line between the violence I enact on the world in little ways everyday and what is done to me. I wondered, why do I always think of myself as on the side of the good? Do we all draw the line that way? In a world with so much overt, mass violence, it is easy to be the victim, or at least, not the perpetrator, but I this so? Commission for {Re}HAPPENING 2013, Black Mountain College Museum + Arts Center, Black Mountain, NC, USA



video with sound, 5m, 2010-2013

Do I remember when I first discovered my toes? Probably not...but I tried to imagine what these earliest memories might be like. This piece explores the physicality and psychology of infants as they are first encountering their world and themselves. Hummed nursery rhymes provide the sound to create a dream-like world inspired by early childhood.


Be A Star...Boom

pigment prints, 8x8" each, 2010-2012

When childhood is interrupted, whether by hunger, violence, neglect, abuse or any number of other variables, a star is lost. And when the star is gone, there is no boom. Distrust and defended-ness are what takes its place. This makes our world a very sad place...very few stars, very few booms. This series is a meditation on loss in childhood and the resulting masked vulnerability that is the by-product. It encourages us to be a star boom anyway. It was created with drawings and paintings that were digitized, manipulated and recombined with performance stills.


So Much More Than Slink

pigment prints, 10x8" each, 2012

This series of images explores feeling less than. We are told not to compare our insides to other people's outsides, but we do, don't we? There is so much more going on inside than is ever seen and it is sometimes hard to manage that reality when everyone around us looks to be calm, fine and happy.



video with sound, 9m 2s, 2012

This piece explores expressions of emotion...uncontrolled or manipulative, outwardly-focused emotion and repressed feelings that we only let out in private. We are all capable of using, consciously or not, our emotional expressions to manipulate a situation, assure an get our way. Similarly, we have all been in situations where we must hide our feelings for the same reasons. Our emotional lives as human beings shape our thoughts, actions and beliefs. In this very personal work, these expressions are exposed to illuminate just how incredibly vulnerable we are.



video with sound, 5m 4s, 2012

Abandonment, specifically early childhood abandonment is the theme of this piece. Using physical barriers as a metaphor for the constructs that are created as a reaction to perceived rejection, the video explores the psychology of abandonment and the behaviors that develop to defend against the massive betrayal a child experiences as a result of abandonment. The soundscape describes the attempt to connect over huge emotional gulfs by layering one voice over another as if trying to reach out and sync that which cannot be.


Just Because

pigment prints, 8x8" each, 2012

Sometimes we do things because we can...because the opportunity presents itself. And then...we bear the consequences for the rest of our lives.


Solo Party Dress

video with sound, 5m 11s, 2012

What began as a meditation on and a "I cannot pretend this isn't happening" confrontation with neglect and abuse, resulted in this "girls just want to have fun, dancing with myself" piece. Over a period of almost a year, I created drawings of abused animals, digitized them, then digitally drew the negative spaces between the bodies. Using the Buddhist practice of tonglen to transform suffering, multiple layers of these 800+ shapes were animated, and combined with animated graphics, 1920's inspired movement and gypsy-rag sound loops to create a kaleidoscope of eye candy that transforms my pain over the horrors of inhumanity into a "private moment" kind of joy.


The Usefulness Of Persistent Distance

video with sound, 10m 13s, 2011-2012

This video looks at the means by which we use distance to create autonomy. Emotional and physical barriers are constructed for various purposes such as the allowance of intense focus, preservation of sanity or safety and development of the self. The images in this work are metaphorical vignettes that explore distancing behavior.
This piece was commissioned for Synthesis, MoogFest Public Art Celebration, Asheville, NC, USA


Don't Wake Me Up

pigment prints, 8x8" each, 2010-2011

What pictures do we carry around in our heads? What are our expectations? How do our fantasies impact our relationship to reality and our decisions?



pigment prints, 8x8" each, 2009-2011

This series was created by combining nine psychological self-portraits reflecting various ages, which were digitized, manipulated and recombined with performance stills. This piece explores the questions: What is the value of a person in terms of her age? As we grow older, do we lose parts of ourselves but gain through experience? As we age are we enhanced or diminished?


Day Dreamers' Ball

pigment prints, 8x8" each, 2008-2011

"At the day dreamers' ball, you can be set free, dance awhile and waltz with me. Two steps and four steps and down the hall. Down at the day dreamers' ball." (lyric by my dad, Don Humphries)


Self Referential

pigment prints, 8x4" each, 2008-2011

How do we see others? Do we see others? Or do we see what we think they are? Do we see everyone else through our own opinions, biases, and stories? Is it possible to really see someone else? These eight images combine paintings of others combined with photos of myself to represent the difficulty we have with separating ourselves from the other.


Lost And Found

pigment prints, 9x6" each, 2007-2011

Once lost, innocence is a hard to find again. It is often replaced by shame. Can innocence be created? Is it ever lost? Can shame be forgotten? This series of images asks if these psychological states can co-exist.



pigment prints, 5x5" each, 2006-2011

What does it feel like to have no voice? No power? No control? What is the legacy of being perceived as a thing rather than a person, a separate entity? Children are not dolls. They are not property. They are not extensions of someone's egos. They are not toys. This series explores the concept of boundaries of children and what happens when those boundaries are invisible, broken, denied.


Seen/Unseen: Durational Performances, 1992-2005

Durational performance is the basis of my current practice. I record my performances and use them in the video and still work. However, from 1992-2005, I performed works that were not documented, mostly unsited, sometimes unsighted, intensely personal and often created surreptitiously in the still hours of the morning, very late at night or at other quiet times. Since the work was intentionally undocumented, I have shown the location of the performance and given a short description of the intention of the work.