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Two
themes that I have been persistently fascinated with and have been
reflected in my work through many media have in common my captivation
with processes of change. The first is found objects, more precisely
human artifacts that have been manipulated and worn over time: whether
a rusty car bumper exposed to the elements and to wear, or a paper
cup that has blown through the streets and been walked on and altered
into another form taking with it the imprint and surface information
of whatever it has haphazardly come in contact with. The second consists
of natural objects that have themselves a programmed ‘shelf life’
and deteriorate on their own. I manipulate these natural processes
either through imposed environment—such as submission in water,
leaving them outside, baking them slowly in the oven—or by such
acts as sewing, binding, pressing, and distressing. In either case,
it is the engrained natural processes that are explored in my art
and work.
Integral to the pieces themselves is the mechanism of sewing. This
process of piercing and merging two separate media together results
in a site of energy transference—the joinery—the activated
point that thrusts one medium into another.
Framing my work is an interest in traditional art, which uses both
found and natural objects for ritual and healing purposes. Extensive
research in fields such as anthropology, religion, history, and alternative
health practices encrusts my work not only with a contextual past
but a healing surge into the future. |
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