Two years ago, I began several series of large linoleum prints, work that is ongoing. My plan to paste the linos on exterior brick walls challenges me to reconsider private vs public access in both concept and location of display.  I increasingly want to see how far fine art, which would not normally be considered public art, can be pushed.  How far I can push myself to be both true to myself and yet make my work more accessible in a public arena? How can the conceptualization of the work reflect the space of its presentation?  References to forgotten spaces and figures of loss already in my gallery-exhibited work is now displayed in actual forgotten alleyways. The destruction of the works when removed brings fuller attention to personal and societal experiences/paradigms of loss and renewal to larger audiences.
 
"In_Title_Meant," is the first of series of linoleum prints designed to be displayed/ pasted to walls in public.   to be resolved. In each print, a lone handkerchief is hung by rope from a hand. Each is uniquely titled. They are all one lino block reprinted in many divergent ways.  The "hanky" is considered as an illustration cropped from a missing story, a cheery greeting, a surrender, a hidden space, a levitation act, a dark spectre.  "In_Title_Meant," investigates the ownership of images by questioning who is empowered to interpret/control meanings that effect cultural outcomes. The many titles pack, unpack, and repack those meanings.