My work encompasses several modes of expression that share a common visual language despite differences in materials and construction. Linear elements in the two-dimensional work translate into tactile fibrous forms in sculptures and environmental installations, which in turn influence the woven and drawn imagery.
Curvilinear shapes and ambiguous shadows in some weavings appear to reference hemp fibers, reed, slender shavings of wood, human hair, or other elements particular to living things. But in other works, similarly cursive lines represent glistening coils of transparent oxygen tubing. Their shapes echo those of natural forms but are rooted in a deeper, subtler relationship to nature. Pointing to the transience of life, these abstract images of a human lifeline evoke a sense of stillness, an acute awareness of the present moment suspended in that tiny instant between breaths; between life and its cessation; or between ordinary reality and a fleeting memory or impression.
I “paint” with threads and other fibrous materials, not pigment on a brush. On the loom, the “canvas” is constructed simultaneously with the image embedded in it. The weavings require detailed planning and meticulous attention to technical parameters in order to render an image—whether it is woven entirely by hand or developed pixel by pixel for fabrication on a computerized loom. In contrast, my approach to sculpture consists of manipulating materials instinctively and without specialized tools or technology. These complementary studio practices result in a rich cross-fertilization of visual content flowing back and forth between the weavings and the three-dimensional work.