As always, I am grateful for opportunities to propose for various institutions. The work in this gallery was created fully on paper and in a digital world, however it was not funded for completion in physical reality. I am quite fond of these pieces, and some came close to being realized. Continue reading
INDU: Commensalists and Hand Me Downs Mixed media installation 12 ft x 12 ft x 12 ft 2008
This work came from an earlier residency at Indiana Dunes National Lakeshore in 2006. I finished cutting the plates and printing the prints that came from that residency, while I was in residence at the Oregon College of Art and Craft in 2007. This installation was created for the 2008 AIR Exhibition that brought back all the participating artists for a show. I combined a large drawing, archival digital C-prints, woodcut prints, commercial mesh banners and ephemera to create the effect INDU had on me in 2006.
This work has been featured in a National Parks Publication,
Friends and family have brought me to Boone, North Carolina on several occasions. I was a finalist in a call for public art for the AppalCART Transportation System that serves Appalachain State University and Watauga County in the mountains of North Carolina. The work is a result of exploring the area and meeting its residents. The proposal images for the AppalCART Central Station are in the Public Art section of this site.
Linoleum cut prints, black ink on Japanese Paper, editions of 20. C-prints dimensions variable, editions of 20. Metal Drawings, editions of 5, dimesions variable.
This installation was the product of an artist’s residency at the Glen Arbor Art Associaton in 2005 and ArtCenter South Florida in 2006. The work combined all the elements that eventually became the award winning artist’s book, “Right There” (Winner of the 2006 Florida Artist Book Prize).
It combined drawings, prints, an essay, objects and ephemera from the residency, as well as my childhood in Michigan. This window installation was the laboratory for “Right There.” I am grateful to Claire Bruekel for her support and encouragement with this installation. The piece with the yellow background was one of several other spin offs from this original. The extra pieces wound up in “Right There” or other installations.
These books are collaborations with Leila Leder Kremer, studying the dismantling of aging Downtown Miami’s down at the heels former icons: the Burdine Quartermine Building (the Pink Building), Dupont Plaza, and the Everglades Hotel. All were fashionable in their day, but as times changed and profit displaced value in the housing markets, the buildings were leveled and replaced. Mujo-Mujeni Phase I and Phase II have two parts each, one by Leder Kremer and one by Virgin, each taking a distinctive view of the process of destruction…and what remains.
Mujo-Mujeni, Phase I artist’s book 6” x 9” x 1” 2005
This is a two sided artist’s book (dos a dos) with photographs and haiku on one side by Virgin, and the same on the other side by Leder Kremer. Both sides depict a short period of time in Downtown Miami in which major physical changes occurred. The book is printed on a HP DesignJet500 using Rives BFK and Arches 88 in an edition of twenty.
Mujo-Mujeni, Phase II artist’s book 6” x 9” x 2” 2006.
Two separate books are bound together in interlocking covers in this volume, printed on a HP DesignJet500 using Rives BFK and Arches 88 in an edition of twenty. The books uses a serpentine structure to show digital imaging, collage, relief printing and haiku by Leder Kremer and Virgin.
Thirty years of Florida living did not dim the memory of Sleeping Bear Dunes National Lakeshore. Actually when I was a kid it was just plain Sleeping Bear Dunes, complete with Dune Rides in great big American Car dune buggies. A residency at Glen Arbor Art Association in 2005 gave me an opportunity to visit the area and recreate the the park and my childhood memories in this book. “Right There” was the Florida Artist Book Prize winner in 2006 and is now part of the collection at the Bienes Museum of the Modern Book.
This book is a tour through time and space, bouncing around the artist’s head, Glen Arbor/ Glen Haven, Michigan, and the early 1960’s. Much of Sleeping Bear Dunes National Lakeshore has remained unchanged. Memories however may have become better with the passage of time. The book’s covers are basswood, planed, sanded and tied together with leather thongs. The cover art is laser etched into the wood, front and back covers of each chapter. The papers used are Thai Unryu and Arches Cold Press Watercolor 300 and 140 lbs. The book was created in Adobe Photoshop CS2 and Pagemaker 7.0. The font used is Americana. “Right There” has seven chapters, and when closed creates a block approximately 10 inches wide, 12.5 inches tall, and 10 inches deep. A custom denim bag is included for transportation. Each chapter contains one woodcut print, one C-print, one digital scan, and one essay by the artist. The book is an edition of five. The photographs were taken at a residency at Glen Arbor Art Association/ Sleeping Bear Dunes in summer 2004. The toy images, woodcut prints, and book itself were produced in 2006. The essays are semi-accurate memories of the artist’s childhood growing up in Michigan during the 1960’s.
Mountain Tops 45 in x 11 in x 3 in (open) 2011
“Mountain Tops” is an accordion fold structure made from powdercoated watercut aluminum, rivets, aluminum mounted C-prints covered in plexiglass, dye on linen, canvas, and teak dowel. The font used for the haiku is Regallo Aplaya from T.26.
This book has two C-prints mounted under plexi on aluminum, one drawing and one print cut from aluminum plate, two panels of words (a haiku written by the artist), and a canvas carrying sling. The book is created in response to an artist’s residency at Oregon College of Art and Craft in Portland, Oregon during the summer of 2007. This book received an honorable mention in the 2010 Florida Artist Book Prize at the Bienes Museum of the Modern Book. It is an homage to Jim Findlay who helped me gain access to mountain tops with his support.