blog under construction, stay tuned

 Well, after laying the foundation for my blog in 2009, I got distracted by the material world. Come back soon and we'll reboot.


With the launching of this website, I hope that all of my colleagues out there who have worked on these projects with me will let me know what they think: Do my descriptions capture adequately the spirit of the work? Did I leave out essential elements? What else do you want to know?

testing, testing . . .

Now that this site has most of its moving parts, it is time to give it the real test—with some diligent visitors who have graciously agreed to check it out and give us their feedback. Thank you in advance to Courtney Cunningham, Darcie Fohrman, Barbara Henry, Erin's friend Mallory, Wendy Pollock, and Beverly Serrell. We're looking forward to hearing from you about your experience, and how we can improve the affordances and design to make the site even more user-friendly.

And I'd like to personally thank the other two co-developers who make up the "we" in this design group: site architect and builder Ted Koterwas of 3rd Rail Interactive, and information architect, librarian, and editor Erin Wilson. Without you guys, this would never have happened. 


It's an unnerving process, creating a website of my work over the years. I had no idea how long it would take, and how other-worldly it would be. 
Old and fading slides transformed into digital eternities. Dust fragments and spots of mildew, worries of a bygone day. Doodles and sketches—those communication tools of one moment—imbued with an eerie afterlife. I scan the yellowing pages and realize that their color becomes an artistic statement, a badge of age, a marker of time. My work—so intertwined with the material world—is dematerializing with every upload.

Do I keep those old slide trays, with each plastic-framed transparency so carefully labeled and stored upright, each in its own slot? Originals in one row, duplicates in another. "This side towards screen." What about the black leather portfolio with mylar cover sheets, the artwork so carefully inserted?

It is all just residue of the work.