Mid-March 2020 I found myself in the house with my recently retired husband and recently unemployed daughter--two people whom I hadn’t been glued to like icing on a cake for over twenty years. I didn’t go to my studio, which is in a large building shared with over 100 factory workers.
I set up a studio on the top of my washing machine in a windowless laundry room. I used my daughter's face; familiar materials (paper, glues, plaster, paint); and created masks as a metaphor for the protection we were all seeking.
The work resulted in the installation THE FUTURE HAS AN ANCIENT FACE, a visual-social history of the first two years of the pandemic.