I explore ritual, tedium, and tradition by engaging in my own ritualistic and obsessive manipulation of reminiscent objects. The objects I work with are often significant to myself or others, or are representative of personal experiences. As a result, many of my pieces are portraits. These portraits explore the personal, public, cultural, and sacred rituals that we repeat daily, and how these rituals reflect, and also shape us.
I work with thread and straight pins to manipulate objects. Currently, these objects include dollhouse furniture, clothing, household materials, and objects given to me. I use the thread and straight pins, traditionally used to create something, and employ them to render an object useless instead. In this way, I deny both the thread and the object their intended use. These manipulations are often tedious and repetitive. It is important to me that this tedium, meticulous manipulation, and obsession are present in a piece. I want the viewer to feel the time and intimacy between myself and the objects I work with.
My work intertwines materials and process to create an experiential method of creating. My experience working with my materials is as important to the piece as the materials themselves. I envision a piece, then gather the materials from Ebay, thrift stores, and my own life to realize that vision. Sometimes an object is given to me, and I have to reverse the process and allow that item to dictate the direction of the piece. It is important for me to build a personal relationship with my materials, if one does not exist already. I work intuitively, and allow a piece to evolve and change as I work on it. I may not know exactly what a piece is about until its finished, or for months afterward. I want my work to elicit a visceral response from the viewer, and engage memory, previous association, and personal connection to the materials.