Textiles and fibers are one of the oldest and most valued material in our world, but their ever present nature makes them almost invisible. When born, we are immediately wrapped in it, when we die, we are buried in it. We touch it constantly through clothes, furniture, flooring, and belongings. Most textiles are made by the relationship and connections of a single thread manipulated, multiplied, and arranged to form fabric. The fibers in the thread come from animals, plants, factories and machines. It is global. In my work, I explore the relationship of these properties and the meaning of connectivity throughout life.
My work is often influenced by the unpredictability of relationships between people. Organic, static or everlasting, it’s all by chance. My use of colors and patterns overlap, like shared experiences and memories. The fabrics I choose are are cut down to the smallest detail, reinventing their original meaning. I combine them with bold cotton colors, used clothing, textured leathers or blazing mylars, meant to define matter and relationships. With this arrangement, I study the connectivity between color, space and negative space. The fabrics are held together with either a colored thread of a “temperamental”, easily breakable quality, or a black upholstery thread so strong it’s used to bind leather.
My work began in 2006 and continues to evolve; it is an intuitive process. No two pieces are alike or could be recreated. The earlier pieces have a lot of space between them and the circles do not overlap. Lines connect the circles and often connect multiple pieces arranged on a wall. They have a lot of influence from human sexuality and the colors often represent gender. Over time I began paying more attention to the the relationship of color, space and line and the creation of color by overlapping materials. I continue to use this method and have began slowly Incorporating fabric lines and unique shapes.
My newer grid paper drawings began as a meditative sketch on the back of a receipt. The same repetitive process used in stitching coexists in this new medium. By trying hard to not lift my felt pens, I draw single squares over and over. The paths overlap in different colors and arrangements. My meditation is an attempt to make the squares as consistent and lined up with no ruler or guide. The result is a fluid deconstructed grid built by eye and hand coordination.
My life has come full circle. Life is a journey of finding connectivity and purpose in an ever
changing environment. By exploring the roots of what brings value and happiness in my own life, I invite the viewer to explore through my work their own relationships to the people and objects that surround them.