I create worlds sustained by logic internal to the work; a download-of-sort of what I feel like to be alive, at least in this moment, while consuming contested cosmologies. Merging pre-industrial craft methods with contemporary strategies, curved surfaces are articulated to create liminal skins between known and unknown. These thresholds express my sense of euphoria when glimpsing the interconnectedness that surrounds and binds. I look to mathematicians and scientists for grand theories and poets for language to express the strangeness and vital beauty of what is possible. Like the actor Richard Dreyfuss in Close Encounters of a Third Kind, I resolve to make the most rigorously articulated pile of mashed potatoes I can sublimate from the unfathomable.
Recent work consists of fiberglass forms, acrylic circles, acrylic hemispheres and spheres ranging from bowl-sized to five feet in diameter, articulated with silverpoint drawing and ground graphite washes heightened with white, often punctuated by patterns of light (from fiber topics, internal programmed lights, video or reflections on aluminum leaf).
Bernice Steinbaum writes, “Her domes evoke ideas of origin, mysticism and sacredness. The effect of examining the beautiful intricacy and interconnectedness of Prusa’s forms is that we become aware of the impact we leave on our own globe.”