I use the language of textile arts to witness the everyday. Far from emerging out of a quiet artist’s retreat, my work comes directly out of the chaos of contemporary life--in the found spaces between juggling young children, teaching jobs, stacked chores, and an iPhone. My art practice is my meditation, through which I seek moments of transcendence against the intense chatter of this moment.
In the Passages series and throughout my work, fabric suggests an intersection between the pliable self and the more rigid built world it inhabits. Paper ephemera such as lists, grids, blueprints, and calendars give structure to shape a personal architecture. I piece together and embed those fragments in my work, like an improvisational quilter who sees through her formalist lens.
To suggest the processes of accumulating memories and also building cities, I add successive layers of paint over the collage, then scrape them back to see what is revealed. The resulting topography of encaustic medium captures moving daylight and marks passing time, while detailed relief surfaces play off the layers below. Because of this, my paintings look quite different up close than from across a room. Echoing my studio practice, the viewer is rewarded for hovering just above the fray and also for taking a closer look to find meaning among the every day minutia.
The series Sensate of Place is an exploration of emotional terrain that is inspired by the concept “sense of place.” Through imagined topographies I consider how we are marked by the places we construct and how we mark/make them. I want to build an experience of place that is somatic and deeply felt. These works rarely refer to specific locations, but delve into internalized coordinates and the way memory selectively maps experience—of a place out in the world or of a place in time.