My practice spans printmaking, sculpture, and fiber arts with a dedicated attention to materiality and surface. I build bricks from tiny stitches of thread, and I make access (manhole) covers out of velvet. The three-dimensional objects I create are expanded from two-dimensional images, so although they are fully physically dimensional, their visual qualities are limited to a single linear perspective as dictated by a static source image. This limitation results in a skewed half-true object; a meeting of tromp l’oeil and mimicry.
My working processes often mimic various craft and construction techniques, examining the distinctions between what it means “to make” and “to build”. Making often implies a lowered level of seriousness, functionality, or necessity in the produced item, while building is utilitarian and purposeful, yielding something greater than the sum of its parts. My work prods at the traditionally gendered connotations of these distinct modes of production and their inherent value (whether monetary, cultural, or social).
I approach my work with three overlapping lines of thought: one, to form a give-and-take relationship between an image and its object; two, to laboriously create individual representations of items that are normally mass produced and prevalent in our environment; and three, to use materials in a way to complicate our visual and conceptual understanding of the subject matter.
My subject matter, material choices, and tedious working processes exposes the tension between the industrial and the individual, and my half-true or shifted representations of objects engage with themes of certainty, familiarity, and labor.