Artist Statement

The most interesting stories, I believe, are found at the in-betweens, with the collision of materials and
techniques amid history, personal story, cultural context, form, and function.

For me fibers never let go of their history, even as they are cut, stitched, pleated, dyed and hemmed
into surprising new shapes. It’s a common thread in my work along with expanding boundaries of my
discipline and learning the unique stories of each material I pair the fiber with.

This dialogue enters my current work in Sleep on it (2018) where I began to explore the journey of
personal choices and direction. Creating a topographical map dyed with Rorschach-like shapes and stitching. I begin to examine the difficult paths one takes in life. I also use the technique of Kintsugi, to honor mistakes with 14c.gold thread. All of this combined with neon light, creates a sign-like effect and highlights the turbulent journey of life-long decision-making.
In The Leaving (2016), the image of hands sorting invisible belongings is projected into an open suitcase.

With background sounds from my career as a newscaster, words depicting emotions are put on display to mingle with the abstracted notions of travel, life direction, order, and control. Presented with these fragments, the viewer is left to pick up the pieces for themselves, and perhaps fill in the blanks with their own history and journey.

As a multi -disciplinary artist, I seek to embrace the traditional focus on fluidity and tactility, while also
taking the opportunity to invite a wide range of less-traditional materials. This back-and-forth between new and old, expected and unexpected, results in a distinct body of work that is distinctly fiber-based, while also acknowledging the history of Conceptual Art.

In the exhibition Contemporary Threads (2017), I created multiple garments in androgynous
silhouettes, made from gender-based undergarments. This use of materials in an unexpected way, surprises the viewer while using fashion as a vehicle to open-up the viewer to consider what it means to be a man or woman.

In some cases, stories open-up in a work’s material qualities. In Impregnable (2016) and Condomnation
(2016), male contraceptives are used in different ways to lend a new context to the subject matter.
Condomnation juxtaposes the familiar image of the American flag with this unexpected material,
creating a jarring experience that also allows the viewer to examine preconceptions of sexuality and
national identity in a new light. In these works the laborious processes of stitching several thousand
condoms into a single fabric becomes apparent. On close inspection, the subtleties of this unique
material choice become as beautiful and nuanced as the surface of any painting.

Impregnable (2016) I used the same techniques as with Condomnation, but instead using a common
silhouette—a raincoat-to present the condom in a more digestible way. By using a common shape and
presenting it as fashion, the viewer becomes more open to the discussion of condoms.

As my work continues to evolve, I am eager to push the limits of a fibers practice, exploring a
blend of traditional and non-traditional media. I expect to build on these material concerns
further, while deepening my own personal narrative in unexpected ways.