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Spanning painting, sculpture, and textiles, my work explores notions of femininity and feminism, high and low forms of art making, and dreams and disasters. I regularly look to nature for pointers on how I actually go about making art. Through my reverence for nature, I learn to accept a slow, layered pace in the studio and incremental growth as a dependable source of strength. Influenced by sewing construction, bodily orifices, curtains, windows, and cycles in nature, my work is a material exploration of the immaterial.

In addition to regular experimentation in the studio, at this time I am focused on three bodies of work, Draperies, soft paintings, and sculptures. Each Drapery is one entire piece, similar to a single garment, that hangs on a wooden wall mount. The dimensional swags and tiers of patterned fabrics are painted with fluid acrylics applied with a brush or a spray staining technique. The soft paintings are backed with small loops, hang directly on the wall, and are suitable to be framed. Both bodies of work are trimmed in bias tape made from bed sheets. The wall mounted sculptures are made using modified versions of paper mache, consisting mostly of a clay mixture made from newspaper. I expect the coloring of the newspaper pulp to change over time and look forward to see how time plays a role in all of my work.

My art practice stems from reconstituting rejected or discarded everyday materials including bed sheets and newspaper. Using combinations of painting and sewing, I modify and disrupt the familiar surfaces of used patterned bed sheets, which I have incorporated into my art for over a decade. My sculptures are a material investigation of imagined forms that first emerged in my paintings. These different bodies of work are deeply connected to one another.

The surface of a bed is a place where one both experiences and escapes reality, a gateway between realms. Dated textile patterns act as windows for peering into specific times and places from the past. Like skin, fabric retains a physical memory of experiences; it wrinkles from habitual behaviors and environmental conditions. Over time, memories change by expanding, fading, transforming, or disappearing.  

While painting I intuitively respond to and deviate from the familiar textile patterns before me. The shapes and forms in my work are inspired by fragmented floral imagery, both real and imagined. Tracing the outer edges of a flower, I delineate the break between positive and negative space. I paint with an intentionally faded color palette and stain-like quality, allowing painted edges to seep and bleed. I welcome improvisation and unpredictable aspects of the stain as a counter to the predictable patterns of the bed sheets.

Understanding the functional language of fabric allows me to utilize its strength and flexibility. For example, working with fabric on its bias produces flowing and stretchy qualities. Fabric’s grid of woven threads acts like a guiding compass of sorts. The concept of seams, or joining two things together, helps me as I work to meld together disparate aesthetics that are both cute and gross.