Digital Images  

These photographs were taken while researching mountain top removal in West Virginia.  I did several flyovers in a small plane to get a sense of the scale of destruction that has been caused by this radical form of strip mining that removes the tops of mountains in order to gain cheap easy access to thin seams of coal that lay buried within the mountains.  This is one of the most destructive means of extracting coal that has ever been used. The devastation is permanent. These photos are a prelude to my upcoming movie, "Goodbye Gauley Mountain; An Ecosexual Love Story." loveartlab.org  

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Iris Prints 32”x 42”

These photographs were shot while travelling during my interactive road trip performance, “Wish You Were Here.” I marked each state by taking at least one photograph of the sky in a given state. I was more interested in the similarities between the states than their differences. I could not find a more common element of this journey than the overarching sky. It is often difficult to differentiate the states from sky to sky.

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Iris Prints 32”x 42”

These photographs were shot while travelling during my interactive road trip performance, “Wish You Were Here.” Each river or body of water represents or signifies a special and essential element of any city, town or landscape. As such these images map out a lifeline of the country. In shooting this work I was interested in similarities and difference between places and what landmarks were specific to specific sites. I was interested in abstract representations functioning as postcards of specific places.

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Polariods 3"x4"

These are images of hotel rooms I've stayed in while working on various projects.

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Black and White Photographs 20"x24"

The "Titillation Series," explores the construction of biker-babe images and their relationship to stereotypes of working class and gender outlaws. Some of these photographs appear in my article "Looking Class Heroes; Dykes on Bikes Cruisin' Calendar Girls," which was published in The Passionate Camera; Photography and Bodies of Desire. Edited by Deborah Bright.

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4’x4’ Cibachromes and 20”x 24” B&W Photographs, Harley Davidson on Revolving Platform, Video and Sound

“Who’s Zoomin’ Who?” parodies the pornographic “male gaze.” Its elements juxtapose the masculine subculture images of biker babe magazines and tool girl calendars with the feminist critique of representation. The motorcycle and the photos of Annie Sprinkle, (ex porn star and performance artist), operate as signs of power, freedom and pleasure usually associated with the male gaze. In this case these signs of “male” pleasure are appropriated to signify these qualities in and between women.

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