Elementary - High School Sewn Paintings Early Performances The 1976 All American Glamour Kitty Pageant The 1976 All American Glamour Kitty Pageant Show Great Goddesses Along The Road
Terrorist Kitty and Erma Metal Reliefs Sculpture Installations 1984 NAME Show - Chicago Mid 80's 1989 Chicago Wall Frames Along The Road
Metal Drawings and Books Waterloo Art Center Exhibit Brochure Homeless Drawings 1986-91 Bemis 1993 Bed Shoe Home YWCA Windows 95 Wisdom Picture Pillow Story 1971-2007 Prints Along The Road
Blind in Portugal Blind in New York City Migration and Fatigue Workshift Slow Dip Steady Drip Metal Notes and Books 1979-2009 Homeless Notes Morton's Salt and a Semester at Sea Quality Chef BCISUC In the Studio Along the Road
BED SHOE HOME BED SHOE HOME WORKSHOPS Pathetic and Pitiful Kama Kama Corner (Un)Seen Work: Part 1 (Un)Seen Work: Part 2 (Un)Seen Work: Part 3 The Architecture of Migration Along The Road In the Studio
Full CV 4-page CV Articles & Lectures
AIR Gallery A.I.R. Gallery History 2008 Iowa Arts Council Lucid Planet Mount Mercy University Act Out: Performative Video
Homeless Drawings 1986-91

Homeless Drawing Home, Community-based downtown storefront project, Davenport Museum of Art and area homeless shelters, Iowa, 1991

Homeless Drawing Home

My intermedia installations of the late 1980’s to the mid 90’s combined metal relief and text with video, found objects and collected notes and images from those disenfranchised by homelessness, serious illness, and other contemporary social issues. After living in New York City in 1986, my work began to deal with issues of homelessness and loss of identity. In 1987 I started a long-term collaborative project that began at Federal City Shelter in Washington, D.C., headquarters for the activist National Coalition for the Homeless. I continued this project working in shelters and hospitals in the U.S. and U.K. for a decade.

In workshops and journaling we concerned ourselves with those experiences where object, place and identity intersect. During workshops we created drawings and writings on metal foil, often based on a remembered favorite ‘place’. This remembered ‘place’ or ‘space’ became the physical manifestation for a spiritual concept or a psychological space one might call ‘home.’

These hundreds of metal notes became part of installations I constructed in storefronts, community centers, alternative art spaces, hospitals and museums. Like the folk art grottos and roadside shrines I began studying in the 1970’s, these collaborative installations are multi-layered. In large rooms, walls, floors and ceilings are covered in metal notes juxtaposed with found objects, metal books, video and elements such as steam, water and light. The largest of these installations were in storefronts in London, U.K., Davenport, Iowa, The Bemis Center for Contemporary Art in Omaha and The Cedar Rapids Museum of Art and YWCA in Cedar Rapids, Iowa.

These workshops and installations were intended to give a voice to the disenfranchised in their own community and beyond. I also hoped to give those participating access to nontraditional art forms and to encourage the use of imagination as a survival tool. All participants were given credit for their work. Any profits went into the project. They usually created one metal note to keep and one similar to it for the traveling installation. Many chose to remain anonymous, but have not been forgotten.

Though my art takes a variety of forms, it is united by my belief that art can help make meaning of one’s experiences. These installations became shrines to the extraordinary nature of “ordinary life.” For me they embody the peculiar, ridiculous and meaningful (less) qualities of everything human.


I would like to thank the following institutions and individuals in addition to those who participated but have chosen to remain anonymous, but are not forgotten: Federal City Shelter and The National Coalition for the Homeless in Washington, D.C., Sean Turner, John Minx, Mitch Snyder, The Big Issue, the Delphina Foundation, London, U.K, The Virginia Center for the Arts, The Davenport Museum of Art, especially Director Dan Stetson and artist Lloyd Schoeneman, Quad City Arts, Kate Ridge, Miriam House and John Lewis Coffee House in Davenport, and to Sandra Bullock at Neighborhood Place in The Quad Cities: The Cedar Rapids, Museum of Art, especially then curator Leslie Wright, The Cedar Rapids YWCA, The Madge Phillips Center and Women’s Shelter, The Katharine McAuley Shelter and Women’s Center, Rick Edelman, Mathew Butler, Nathan Peck, and, always, David Van Allen. The Bemis Center for Contemporary Art, Omaha, especially then director Ree Schonlau Kaneko and Gregg Narber board member.


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