We Hold the Rope

net shot
“Cat’s Cradle” by Dave Veit and Lee Puffer, 2015. From an edition of black and white photographs in series.

This photograph is part of an ongoing series of images and sculpture that investigate the notion of desire. Consisting of framed original black and white photographs as well as a series of unglazed white porcelain hands bound by black rope, the work presents a monochrome meditation of desire, complicity, and accountability.

We are ultimately responsible for our thoughts, emotions and actions. Knowing this, it is still near impossible to change or control our deep longings and desires. It is so difficult to master the mind, to resolve the inner conflicts that keep us bound and captive. We are trapped by these inner conflicts. Resisting them only strengthens their hold.

As with all of my work, there are both a personal and political components. The implication of this topic, desire, is broad because so much of how we behave politically is motivated or controlled by how we feel on a deep personal level. Shame about our own fears and desires drives us to deny, suppress, repress. Conflict arises when we deny parts of ourselves, especially the part of us that is complicit with all human perpetuated atrocities. Could it be that our dark secrets denied make us an instrument in a world that is able to ignore slavery and exploitation?

We all hold the rope that keeps other humans in bondage.

This piece is about desire, base, human desire to own, dominate, and control. The human propensity for unspeakable acts of cruelty and depravation is a fascinating topic. How do we make these ideas thoughtful, beautiful, and compelling? How do we make it relevant? This is the job of the artist. Our role is to shine a light on challenging social issues with deft use of arresting imagery. We are drawn in by beauty and provocation. Only then can we ponder the deeper meaning of the work.

(On a technical note) As a figurative artist, I am a student of human anatomy. This rather awkward and painful hanging apparatus was created in Dave Veit’s studio using an aerial yoga swing as structure, as well as the net from my Duende installation. Dave gamely agreed to drill bolt-holes in the beams of his studio ceiling. I took a few aerial yoga classes at Aerial Revolution to prepare for the shoot. Professional photographer Dave Veit did the lighting, photography and postproduction. More work from this series is forthcoming.


Agent, Object, Subject

"Funky Couch" 2014 Dawn Nash dawnnashphotography.com
“Funky Couch” 2014 Dawn Nash dawnnashphotography.com

Dawn M. Nash is a professional photographer and an incredible artist. We worked together earlier this year on a series of pictures, some of which you will see here. As a pro, Dawn is always intent on meeting the needs of her clients. This series represents a playful departure from her bread-and-butter work, and a return to her roots as a fine artist.

Mickalene Thomas, Lovely Six Foota, 2007, C-print, 56.31” x 67.38” COURTESY OF THE ARTIST AND LEHMANN MAUPIN GALLERY, NY
Mickalene Thomas, Lovely Six Foota, 2007, C-print, 56.31” x 67.38”

Upon seeing the first completed images I was struck by how contemporary they are.The first image remains my favorite. As soon as I saw the picture I loved how it references European art historical Venuses and reclining nudes while also feeling relevant to both historical and contemporary photography. The work of Mikalene Thomas came immediately to mind. There are elements of the documentarian and portraitist in Dawn’s work, but she is a storyteller. Dawn’s narrative eye prevails throughout. In his essay Photography out of Conceptual Art, critic Steve Edwards describes how fine art photography in the 1970’s began to “avoid the supposed neutrality of documentary photography, whose central ideology is the invisibility of the photographic apparatus.” Dawn’s deft use of lighting, costumes and sets erases that neutrality.

Never is this truer than in the series of images we shot in my kitchen. Referencing the performative documentary photography of Cindy Sherman, the images straddle the line between re-enforcing and undermining prevailing gendered ideologies. Agent, object or subject? It’s hard to tell. This ambiguity accurately illustrates the human experience, especially for women. I have found myself equivocating between agent, object and subject many times in my life.

Dawn Nash, 2014 dawnnashphotography.com
Dawn Nash, 2014 dawnnashphotography.com
Cindy Sherman, Untitled Film Still #6, 1977. Gelatin silver print. 9 7/16 x 6 1/2 inches. Courtesy Metro Pictures, New York.
Cindy Sherman, Untitled Film Still #6, 1977. Gelatin silver print. 9 7/16 x 6 1/2 inches. Courtesy Metro Pictures, New York.

Planet Rooth Gallery to exhibit “Girl Talk” June 20 – August 15

Exhibition card featuring works by Lee Puffer, Kelly Schnorr, and Rachel Shimpock.
Exhibition card featuring works by Lee Puffer, Kelly Schnorr, and Rachel Shimpock.Girl Talk 






Planet Rooth Design Haus 3334 5th Ave, San Diego, CA 92103. (619) 297-9663

(from the gallery text)

Girl Talk is an art show about pop culture, feminism, food, and mass consumption, with humor conveying the themes. The featured artists are Lee Puffer, Kelly Schnorr, and Rachel Shimpock, all three San-Diego artists who graduated from San Diego State University’s Masters of Fine Arts program and who have worked collaboratively on several projects. Their varying artistic methods range from ceramics to metalsmithing. Opening reception June 20th, 7-9pm, which features performance artist Amanda Schoepflin. Show runs June 20-August 15, 2014.

Amanda Schoepflin:

Kelly Schnorr: http://www.kellyschnorr.com

Lee Puffer: http://www.leepuffer.com

Rachel Shimpock: http://www.rachelkassia.com

Girl Talk

‘Tampon Box’ from Girl Talk by Kelly Schnorr and Lee Puffer. Ceramic and mixed media, 2013. “slender and regular and living in fear”

Girl Talk (a conversation in objects)

Girl Talk is an in-progress body of work, developed collaboratively, made manifest in objects that are, essentially, a conversation between two artists/friends Kelly Schnorr and Lee Puffer.

Rife with humor and irony, the sculptures address contemporary life from both unique and shared experiences/perspectives of the individual artists.

The sculptures explore the similarities and differences between the two women, the nature of female experience, friendship, and more weighty and contemporary concerns such as…but not limited to:


Upbringing, family history

Gender roles


Milestones (marriage, children)

Cultural expectations

Popular cultural influences

Definitions of beauty

Sexuality and taboo



Sense of place

Drawing on personal experiences and offering cultural critique of events that most impact their lives, the artists present a frank, open and funny conversation in sculpture.

We each make a sculpture and trade them. Then we will respond to/embellish/add to the work we received to create a juxtaposition/dialog. The result is a series of two-part pedestal pieces and wall sculptures. The material is predominantly clay, but both Kelly and I use a bit of image transfer, textile, and found objects as well.

Options for Aging

Options for Aging : Nubile, Fertile, Futile, Senile

Nubile detail
Nubile detail

“Options for Aging…” consists of four conceptual ceramic sculptures utilizing the teapot format to offer analysis and commentary on the issue of women and aging. This work looks critically society’s expectations of women’s roles during four distinct stages of the life cycle. Each of these stages is represented by a single “teapot.” The teapots are titled, with increasing sarcasm, “Nubile,” ”Fertile,” “Futile,” and “Senile.” Each teapot body takes the form of an egg and relies on placement of handles and spouts, as well as surface imagery to communicate the meaning of the work. This series illustrates the manner in which society undervalues women’s contributions, especially as they age, and asks us to rethink our assumptions.

“Nubile,” representing youthful femininity, is surrounded by many spouts and handles signifying the abundance and ridiculousness of youth. “Nubile” is adorned with images of pin-up girls, fish and seashells. The piece is crowned with pearls and an open seashell as a nod to Botticelli’s “Birth of Venus,” the famous painting of the goddess of beauty and love.

“Fertile,” the second sculpture in the series, looks at common notions of fertility. It has no handle whatsoever but five spouts from which crystal droplets flow. A ripe pear tops the vessel. The surface of the piece is covered with idealized pictures of mother and child, as well as fruit and flowers.

The title of the third sculpture in the series is “Futile.” Depicting women’s later adulthood the teapot has no spout, only handles indicating the demands of homemaking, child-raising and wifery. Images domestic items and food abound.

“Senile,” the fourth and final pot in the series represents old age. With absurd upside-down spouts and a surface of grey and sagging flesh, this pot reminds us that we view old women as doddering and useless. A fat cat gazes expectantly from the top of the pot and images of women teaching children, roses, embroidery and pearls present a more dignified view of old age.

Options for Aging: Nubile, Fertile, Futile, Senile” asks us to pay attention to our simplistic and often negative notions about women and aging through a meditation on the teapot form. That the teapots themselves are, in effect, useless decorative objects further underscores the critical message of the work.

Each piece is about 22”h x 13w”x13d” in size.

Hung Out to Dry

“Stacked” from Hung Out to Dry:The Hankie Project

As a figurative sculptor working on a human scale, Hung Out to Dry: The Hankie Project began as a series of small collages which were like sketches, a way for me to capture, evaluate and catalog my ideas for possible future large-scale sculpture. The small collage images, or studies, once transferred to hankies, became a way to express the volume and complexity of the messages and experiences women and girls internalize every single day. The hankie is an effective information delivery system for these ideas. Hankies are small and portable, personal and intimately involved with the female body (sweat, tears, snot…). Coupled with the ghostlike and fragmented presence of the fine porcelain hands,  Hung Out to Dry: The Hankie Project,  presents a distinct and contemporary point of view on women’s issues.

Hung Out to Dry: The Hankie Project represents my ongoing interest in feminist issues and cultural critique. The images and corresponding text on the vintage hankies allows me to present my strong oppositional views on tropes, clichés and widely held beliefs about girlhood, women’s roles, and femininity. I attempt to present this point of view with biting humor, sensitivity, and compassion.

See the project in progress here.

Godiva The Disobedient Wife

Godiva: The Disobedient Wife, 2009 (42"h x 16"w x 16"d) Ceramic, synthetic hair
Godiva: The Disobedient Wife, 2009 (42″h x 16″w x 16″d) Ceramic, synthetic hair
Godiva detail
Godiva detail

The inspiration for this piece came from reading the newspaper one morning thinking about the issue of domestic violence.  I read several short articles from around the country; woman killed by husband…man kills girlfriend, then kills himself…suspected pedophile arrested. This particular day there were several of these small snippets in the paper.

No parallels were drawn, no links formed, just a death in Boise, another in Buffalo, an incident in New Orleans, and so on. There was no mention of a connection because of course there was no actual link between the events. It seemed to me to be evidence of an epidemic. After all, this was only one days worth of news.

Of course the newspaper those days also contained reports from Iraq, Afghanistan, and Syria. Violence and death, in unrelated stories, matter of fact. There was environmental news that day as well, global warming, the destruction of oxygen-producing rainforest, loss of animal habitat. Again unrelated, matter of fact.

This got me thinking.Violence has been a subtext in much of my work for ages. In general my work is straightforward in its message, but there’s a subtext of violence, another layer of meaning.

The idea for the piece Godiva: The Disobedient Wife, came from that one newspaper. How could I address violence in an artwork and draw parallels between domestic violence – particularly violence against women, with the violence we perpetrate against other nations/armies, and on our environment?

Many of us are familiar with the story of Lady Godiva. She rode through the town of Coventry on horseback with nothing covering her naked body but her long hair. As I attempted to research the legend of Godiva I discovered that she was believed to be the wife of an Earl who imposed oppressive taxes on his subjects. After her attempts to convince the Earl to repeal the taxes failed, Godiva made this historic ride in protest of her husband and to show sympathy for the townspeople. Both as an individual and politically, Godiva seemed the perfect image for my subject matter.

While it is disputed that Lady Godiva existed at all, the image is compelling. You may disagree, but for me as an artist, an enticing image is necessary. If it is not going to be a cool-looking object, I am not so interested in making it. The work must look good, cool, slick, funny,and/ or colorful but never to the detriment of or excluding its deeper meaning. If art is to be a means of communication, which it is for me, then someone has to be on the other end, willing to talk. If the object I attempt to engage you with fails to hold your interest visually, then you will not stick around for the conversation about its content.

With this in mind I envisioned a lovely nude figure with long blonde hair, thinking this would be enough to entice a viewer into looking further, perhaps an attraction/repulsion response would follow, hopefully then followed by a deeper readying of the image/sculpture itself.