Artist's Statement, 2012
For the past fifteen years, I have been working with everyday objects and their potential to express ideas. I have used ice cream sticks and school glue, bed sheets and red thread, wallpaper, floorboards and wallboards from my apartment and studio, rubber bands, and books, among other things. The materials I choose to work with are things from my own life that have certain associations and symbolic significance, as well as diverse physical properties. I explore what a given material will do and then use its properties and associations to make a piece that communicates an idea. My obsessive relationship with the material I am using becomes an important part of each piece.

I also work with traditional art materials in unconventional ways. In my earlier paintings and drawings, I experimented with the extremes of minimal and maximal contact with the surface of the work. For example, in the "Poured" series (1999) I worked with painters’ formulas from the Renaissance and had less than one minute of creative contact with the surface of paintings that took up to three years to stabilize. In the "Meditation" series (1999), I went to the opposite extreme and burned through the surfaces of paintings that I had painted with natural pigment, laboriously collected in the mountains of Udaipur, India and prepared by hand.

In 2003, I started working with video. My first three video projects were about cultural identity and being an American living in a foreign country. In "Look at My Dress" (2003), one of the cultural identity videos, I began using my transformed handmade objects as the subject of my video. In all of my subsequent videos to date, I record alone in my studio using a video camera, the objects that I have created, and myself. I juxtapose the different media by using video to memorialize the idea of the individual artist working alone in a studio with tactile materials. Video enables me to introduce sound and movement into my work in new ways, and it allows me to control certain aspects of how a piece is viewed. It also allows me to show fragile and intimate work that can otherwise be difficult to present in a public setting.

From 2004 to 2006, I was a member of the artist group The Memory Collective (Huskegruppen) with Peter Brandt, Tomas Lagermand Lundme, and Maria Wæhrens. The Memory Collective was an experiment in collaborative art production. All of The Memory Collective’s work is an exploration of individual memory and collective memory, related to a specific topic. Some of the topics that The Memory Collective has worked with are: mother, father, faith, fairytales, hospitality, and the Danish author Tove Ditlevsen. In June 2006, the members of The Memory Collective decided to concentrate on their own individual work.

Since 2006, I have continued to work with a wide variety of materials in diverse media. I have reinvestigated painting's potential to communicate both intellectually and emotionally through its tactile dimension. I have worked on several series of “Recycled Paintings” over the years. I am interested in the many properties of paint and the endless possibilities that exist for making a painting.

I am currently working on some recycled paintings that are washed paintings on canvas with sewn elements. I am also working on my first series of cast metal sculptures. These sculptures are cast versions of earlier figures made out of rubber bands.