My imagery focuses on the creation of new spaces as well as the juxtaposition of organic and structural forms. My use of traditional feminine methods (such as sewing and weaving) stem from the necessity to reclaim skills that were not passed down to me but were expected within my role as a woman. The layering of these techniques creates a sense of depth, and suggests a constructed environment. My hand sewn tears and stitching cohere the organic forms with structured grids to develop a matrix in flux. These images shift between body and habitation portraying the strain of filling space, bursting and being pulled back together.
In both my print and my painting practice I place my work into spaces and manipulate the inherent architecture and how I can make my art conform when it’s so clearly disjointed. My aim is to explore what separates craft from fine art and what it takes to turn bad craft into fine art. As a woman inspired by other female artists, I repeatedly ask myself the difficult question of how I fit into this tradition and my role as a woman in a society where these methods and outcomes are expected of me. I’ve begun using my art as a way to physically display the mental territory I’ve formed for myself to deal with a lack of belonging. Producing these spaces is a reclamation of the method and my space within society both physically and metaphorically.
The Pickle Jar, CMYK silkscreen on wood. 20” x 24” 2017
Home Economist, oil on canvas, 3’ x 4’, 2019
Friends Around Fire, oil on canvas. 20”x24” 2018
Printed Wallpaper, collagraph and relief on hand sewn paper. 5.5’x11’, 2020