My artwork presents shifted likenesses of structural objects, 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. Borrowing from the languages of both making and building, my work prods at traditionally gendered connotations of these distinct modes of production and their assumed inherent value (whether monetary, cultural, or social). The boundaries between making and building are both ignored and complicated by the falsity of the items I create.

I make dimensional images of access (manhole) covers with suede and velvet. I build bricks from tiny stitches of thread. These objects are false expansions of images. They are actually physically dimensional, but their visual qualities are limited in that they have been derived from a single linear perspective. The object-ness is simplified, constrained by the item’s surface and by the limitations of the perspective prescribed through the object’s image.

My practice spans printmaking, sculpture, and fiber arts with a dedicated attention to materiality and surface. My subject matter, material choices, and tedious working processes expose the tension between the industrial and the individual and address conceptions of certainty, familiarity, and labor.