A Path A Part
2021.15.5”x12.5”.Mixed media work. Plaster casts, found objects, acrylic, and thread
This work examines memory in relation to place and time. I’m interested in how we collect impressions and objects of everyday experience. I use the term “mental storage” or “mental furniture” as a way to help visualize interiority and how it is constructed. The found objects and sculptures of the body are weaved into a grid which becomes my interpretation of the space(s) where memory forms, expands, and evolves.
Mapping of Memory, 2020, mixed media
Mappings of Memory is a series of mixed media pieces that combines painting, sculpture, textiles, found objects, and photography, which results in a hybrid between sculpture and painting. I’m interested in compiling an assortment of visual materials into a composition similar to that of a collage or assemblage. Stitching together a variety of elements such as parts of the body, domestic objects, and natural materials as a way of constructing a dialogue between place, land, and memory.
Mappings of Memory is a cumulation of experienced sounds, images, textures, and impressions collected during quarantine. Specifically, this work connects with solitude and its symptoms of uncertainty, triviality, boredom, and fragility. This work is a collection of fragmented experiences and objects found in desolate spaces, such as the assemblage of sounds from the piano colliding with the firing of a hunter’s gun, the search for a bird’s nest but finding animal bones instead, and coins exchanged for anonymous wishes. My work is intended to show the overlapping of impressions, sounds, and objects that sew into memory and becomes its own map.
Off Grid is a mixed media series, which centers on weaving together body and
place. I’m interested in creating a visceral dialogue between land and the internal
framework, though pencil lines and sewn threads my work attempts to connect the
concrete world to the abstract experience. The body is depicted and integrated as
ears, fingers, and teeth in order to draw connections to the human senses. The grid
and the web are utilized as ways of mapping out the space as if making a blueprint
or plan for a site. These elements collected together are attempts to show how being
on land becomes apart of the mental framework, and possibly can unfold into a
poetic and fluid experience.
Off Grid, 2019
To reveal is to be seen. My work explores the line between the known and unknown. I use materials such as metal, wood, found objects, and video as a way of creating forms and fragments that exposes the body and object. Spikes of rods and nails break through layers of wood and membranes of fabric. The eyehole in the door and gaps in-between open and expose internal spaces and forms. I use these breaks and openings as a way of disrupting the line that separates and contains, while also connecting the interior with the exterior.
To conceal is to be unseen. I use fabric, wax, and wood as a way of creating a veil or skin that hides, preserves, and confines. The layer or structure that covers also acts as a divider. The skin of the body, the panels of a box, and the wire of a cage all function as a barrier between seperate spaces and objects. I cover the body and the object as a way of making the absent present and the certain uncertain.
Concealing and Revealing, 2017
My work uses performance and video as a way of exploring ideas concerning the self and with
ephemerality. Liminal utilizes the body and its relationship with time and space as a way of showing the
interplay between presence and absence. Through movements of arriving and leaving and gestures of
contact and disconnect the body blurs between the line of the visible and invisible, continuously
transitioning between one condition to another.