Biomythology was coined by Lewis Thomas in his book of essays Lives of a Cell: Notes of a Biology Watcher. I love this book of essays and co-opted the title for this series of artworks as an invitation to imagined biology and botany, suggesting with these sculptures hybrid functions of plants and animals. Sometimes like a glimpse through a microscope, at other times like an alien hothouse. The sculptures within this series all share a visceral, gestural flow and biomorphic character. It is this organic quality that makes them, in some primordial way, bio-referential.



Geotime is an exploration of a lesson given to my husband by his childhood Sensei, "in time, even stones breathe." This simple idea inspired my imagination to represent different perspectives of time, or time as perspective. Hummingbird time, spore time, volcano time, music time . . . visual representations of events and intervals. The greatest revelations I found in this work were the stunning echoes in form between the micro and macro-cosmic world.



As I struggled to teach my rebellious daughter piano, (not yet a seasoned enough parent to know when to hire a professional), I discovered Mikrokosmos, a cycle of progressive piano pieces written by Russian composer Bela Bartok in the 1950's. In an "Ask the Composer" interview on WNYC, he described the title for his collection to be interpreted as: "A series of pieces in many different styles, representing a small world . . . or world of the little ones, the children". My daughter never learned piano and now happily plays trombone. I cherish these weird small pieces and their big ideas. Selecting the title Mikrokosmos for the series could be interpreted as "A series of pieces in many styles representing a small universe."