Art is the way I understand and exist in the world. I strive to make objects I have never seen before, that are accounts of my findings, documents of things I find beautiful or excruciating. And when they are complete, it is as if they have always been. They are physical objects that express what I am unable to put into words. The work consists of smaller pieces combined to make a greater whole: stitches in a shape, forms in a sculpture, letters in a word. Combining cellular parts into larger forms creates strength from within. My materials and methods might be considered delicate and feminine: fabric, clothing, paper, thread; stitching, sewing, knotting, folding. Pliable and ubiquitous yet when combined and assembled, they fortify, becoming resilient and distinct. A sleight-of-hand transformation.
I am drawn to labor-intensive processes that require time and intimate postures. These are quiet, cumulative acts that imbue greater depth of meaning and are counterpoint to our digital, breakneck culture. The way an idea is presented effects how it is received. Compelled to make the uncommon from modest media, I do not impose meaning on the materials; rather the materials invoke meaning as I work with them. It is a sensitivity that is vital to the process, especially working with found and natural matter. An object becomes more than an object once you know something about it. It becomes an entity that can inform or elicit or engender. It becomes a token, symbol or record.
Curiosity and commitment provide continuity for the various series of work I make. Every extant thing consists of other, smaller things and each of those contain their own private nuclei. When we acknowledge that we begin to grasp that everything is connected. Concerned with rendering the layers beneath, the parts hidden, the tiny pieces that make the whole, I am always growing the work, letting it evolve and trusting in its knowingness.
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