4 decades ago with a degree in Sociology and no formal art or design training, I established my studio in Philadelphia with the conviction that clothing can be an artistic form of social intervention. The umbrella term CONCEPTUAL CLOTHING encompasses the variety of design, installation, collaboration and curatorial projects which occur in and out of the studio.
Always been self-employed: creating diverse projects. After working at The Fabric Workshop for a couple of years in Philadelphia, moved my studio to NYC and then to several European cities for a decade + of growth and expansion. I began to make metaphorical garments, devised sound and light installation in Holland and the Czech Republic with the collaborative TROPISTs, executed multimedia installations, engaged in other collaborative projects (many undocumented and outside of the art world), made clothing within a variety of contexts, taught in art and design academies, and exhibited in museum and galleries.
Upon my return to the States I continued to develop projects of engagement as well as annual thematic clothing series. I have worked with the weather to create time imprinted storm dresses, built nomadic tipi space modules for the National Building and Labor Museum in DC, and developed clothing based actions for an array of political and psychogeography projects. These have included projects with OCCUPY NYC, Chashama NYC, and street manifestations in Berlin, Amsterdam and NYC. Clothing was used to disrupt normative behavior and instigate new relationships in the urban environment between people amidst advertising glut, architecture, and learned urban behavior.
I have developed several larger scale projects that have ignited a deep desire to produce experimental, multimedia performance and crowd projects. In 2013 after three years of research and development, Kate Hamilton and I created The Mine Project / DaDa SPILL, a large-scale multimedia installation, performance and crowd project in an unlit abandoned cement mine in NY State. We staged an unscripted massive, absurdist security breach in which costumed ‘cultural interpretive guides’ lead people from one faulty exploration of security to another, through twisted material interpretations of language and complicity. We had one single performance in the Widow Jane Mine in Rosendale, NY. July 27, 2013 and 300 people participated. This project was followed by my staged occupation within an ‘occupied territory’ in a public park in New Orleans (a de-facto occupied territory) titled The Clouet Gardens Project, Fringe Festival, New Orleans Nov. 2015. In 2018 I developed and executed a project in residence in an open storefront Marseille France title DECALEZ involving public development of the narrative and the material. In autumn 2019 for La Nuit Blanche Festival in Toronto I staged a crowd project of transposed objects of survival and leisure on a wildly windy and inhospitable cement plaza called Sugar Beach North.
I’ve lived and worked in four countries and currently reside on a farm outside of NYC.