S T A T E M E N T
I have a perpetual interest in the nuance between concept, material, and methods of art making, striving to deeply understand each. Engaging and resolving the materiality of a piece is a crucial aspect of my work, and the problem-solving process essential and cathartic.
When beginning a new project, the first question I ask is how to best physically render the concept. Recently I returned to fabric as a primary medium, but use glass, paper, twine, metal, wax, stone, paint and dry pigment as well. I have made my own pastels in order to find the absolute right color.
For a recent project, Tears of Joy and Sorrow, I worked with borosilicate glass, hand blowing hundreds of droplet-shaped pieces, embracing the beauty and imperfection of each as a representation of the individual and communal challenges faced in life. I considered other materials, but only the delicate lucidity of glass and its distortion of the background spoke to the concept. Cerebral Weavings of a Future Obscured began in a series of drawings and paintings created as an homage to my mother, a weaver. Rising from the weeks following her death these works grew to acknowledge the fickleness of our pandemic time where everything is equivocal as the status quo has disappeared. Though obscure, we have the potential to reshape a future into one of possibilities. Paysages Tactiles was created for an exhibition in Paris specifically tailored to the blind. Each sculpture in that series needed to withstand being touched and handled, yet be light enough to not endanger those handling them. I worked with gauze and universal medium to cast the elements for these sculptures.
Ideas around the manifestation of social issues and life’s defining experiences are central to my work. In the end, the materiality of a piece helps bring the personal into the universal, a non-verbal reflection of our shared experience often celebrated or endured individually.
I have a perpetual interest in the nuance between concept, material, and methods of art making, striving to deeply understand each. Engaging and resolving the materiality of a piece is a crucial aspect of my work, and the problem-solving process essential and cathartic.
When beginning a new project, the first question I ask is how to best physically render the concept. Recently I returned to fabric as a primary medium, but use glass, paper, twine, metal, wax, stone, paint and dry pigment as well. I have made my own pastels in order to find the absolute right color.
For a recent project, Tears of Joy and Sorrow, I worked with borosilicate glass, hand blowing hundreds of droplet-shaped pieces, embracing the beauty and imperfection of each as a representation of the individual and communal challenges faced in life. I considered other materials, but only the delicate lucidity of glass and its distortion of the background spoke to the concept. Cerebral Weavings of a Future Obscured began in a series of drawings and paintings created as an homage to my mother, a weaver. Rising from the weeks following her death these works grew to acknowledge the fickleness of our pandemic time where everything is equivocal as the status quo has disappeared. Though obscure, we have the potential to reshape a future into one of possibilities. Paysages Tactiles was created for an exhibition in Paris specifically tailored to the blind. Each sculpture in that series needed to withstand being touched and handled, yet be light enough to not endanger those handling them. I worked with gauze and universal medium to cast the elements for these sculptures.
Ideas around the manifestation of social issues and life’s defining experiences are central to my work. In the end, the materiality of a piece helps bring the personal into the universal, a non-verbal reflection of our shared experience often celebrated or endured individually.
Other Worlds: Maya II, 2020, (detail)