Growing up on a farm in the middle of the country, the foundation for my work was laid from such simple acts as walking the beans and stacking racks of hay bales. When I began to make sculpture at Reed College and asked perplexing questions: “Why use one thing instead of another? Why does something look like art?” answers came while creating environments in which things would happen. I wanted to be in my sculptures.

Moving to California, I immersed myself in dance, ranging from contact improvisation to trapeze work, and then to NYC into the downtown scene of performance art. Throughout the 70’s and 80’s I performed my own theatrical, musical, movement pieces, and worked with artists ranging from the Harmonic Choir to Sally Silvers. I was still swinging from long ropes. My photographs, scores and collages were published in downtown presses.  For over a decade I was archiving and cataloguing a major Fluxus collection. The influence of this work remains strong. In Boston I have continued to collaborate with musicians and dancers and to make things from what comes my way.