The majority of my work involves found objects, textiles, and the earth. I gravitate towards these media because they have an inherent history that is attached to where they came from, who used them, and how they were used. They are linked to the process of becoming: from what they were to what they will be. These materials are underscored with humanness. As such, an object or material can become an intermediary for people and their experiences.
My work tends towards subtlety, leaning heavily on materiality, process and visual associations to illicit an intimate correspondence that is both suggested and universal.
I am particularly interested in how positive and negative spaces can either question or become modes of governing by directing the eye, the mind, and the individual. In regard to form-- how emphasis, absence and the spaces in-between become authoritative signifiers for an experience and parallels for narrative, memory, or time. A yard of string placed in a natural landscape can command a specific viewing, a weave structure might obstruct light, a process of deconstruction could allude to the passing of time, and deflation may reflect loss or letting go.