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My work explores the intersection of two particular visual and material cultures. First, I am interested in simple formal organizations that reference various 1960’s art styles such as Minimalism, grid painting and Op art. Second, the use of two kinds of materials: those that are disposable, cheap and eye-catching, and repurposed industrial materials. The materials are ubiquitous within our consumer culture. Most of them are designed to be disposable, such as wrapping paper, confetti, party streamers, tinsel, cellophane filler, tape,and packing vinyl. They are chosen to engender momentary recognition, or simply to attract the eye with visually appealing characteristics, such as shiny, reflective, glossy surfaces or bright colors. As I address the physical character of my medium, I experience the satisfaction that emerges through the handmade manipulation of materials.
I have a process-based studio practice. I create forms and surfaces that exploit both the formal qualities and the sheer visual lusciousness of each material. I work with patterns. The act of repetition and pattern making is a labor-intensive craftwork process. There is a consciousness in creating such impressions to the degree where most surfaces may appear to be manufactured or made by a machine. Only upon closer investigation, does one realize the slight imperfections on each object. Only through deeper inquiry do the surfaces reveal the timely applications, the work of the hand, and the physically engaged processes of making. A playfulness not only occurs in making the handmade appear to be manufactured, but also in the sheer tactile qualities of the works. I strive to sustain an uncertainty about my process, creating associations between mechanical reproduction and meticulous handwork.
I challenge my audience to question the hierarchy of material choices and how such materials function in relation to the timely work of the hand. I want the dichotomy between simple and complex, precious and trivial, hard and soft, instant and timely, to all be points of entry within the sensual, formal delight that exists within my work in order for a greater dialogue to occur.