Artist Statement
For over a decade, I have been engaged with an ongoing body of work that investigates relationships between labor, gender, duality, time and culture. My personal connections to place and community—connections that constantly develop, shift and are often transient and fleeting—inform the results. I embrace traditionally domestic and gender-specific techniques in my creative practice, including crochet and blacksmithing. As working processes, these universal means of cultural production bear the mark of history and connect me to generations of makers.
The core of my studio practice lies in the engagement with labor-as-medium. This involves intensive and repetitive fabrication methods that influence creative experience through their meditative and transcendental aspects. My latest pieces focus on complex constructed forms integrated with refabricated and refinished found objects used as building blocks. Calculations, kitchen sink science, botanical and utilitarian references, and blatant handmade-ness give substance to every piece.
I have long been able to make much with little because of my dedication to the marriage of ideas with the processes of the hand. Explorations in pattern, form and the use of multiple parts and pieces speak to ideas about simultaneous occurrence and mimicry, tessellation and mutation. Thinking-through-making sensibilities and attention to detail come together to reference the possibility of function and to stand as evidence of how ideas, process and material resolve to join in countless new ways. This is an expression of my politics; the results reflect my personal sense of wonder, darkness and intrigue that make up my world.
The core of my studio practice lies in the engagement with labor-as-medium. This involves intensive and repetitive fabrication methods that influence creative experience through their meditative and transcendental aspects. My latest pieces focus on complex constructed forms integrated with refabricated and refinished found objects used as building blocks. Calculations, kitchen sink science, botanical and utilitarian references, and blatant handmade-ness give substance to every piece.
I have long been able to make much with little because of my dedication to the marriage of ideas with the processes of the hand. Explorations in pattern, form and the use of multiple parts and pieces speak to ideas about simultaneous occurrence and mimicry, tessellation and mutation. Thinking-through-making sensibilities and attention to detail come together to reference the possibility of function and to stand as evidence of how ideas, process and material resolve to join in countless new ways. This is an expression of my politics; the results reflect my personal sense of wonder, darkness and intrigue that make up my world.
