PROVENCE, FRANCE 2021
My art practice is heavily influenced by place. All of the works have been sketched, sourced, and entirely created based on my response to place and time living and working in Lacoste, Provence. The scale, techniques, and methods are how I typically work, but overall the feel is very much encapsulated from my here.
La Vie en Rose has floated through my everyday for years- it’s slowly become a mantra of sorts. Featuring the local colors and materials of Provence, I’m working with natural dyes, pigments, and yarns to create these larger than life sculptural woven and wrapped works.
LOS ANGELES, CALIFORNIA 2019
Working in porcelain, jute, raffia, sand & wood, the current incarnation has evolved into ceremonial & totemic feeling works. The weaving traditions that in many cultures are used to tell stories are incorporated & embellished. There is a sense of pageantry in this work, with many of the pieces taking on a mask like quality while also strongly grounded in the tangible materials in which they’re constructed.
OAXACA, MEXICO 2017-2018
This collection weaves together my experiences in the Mojave, Sonoran, & Chihuahuan Deserts that I’ve explored extensively over the past few years. It relates the desert’s dryness, distinct palette, openness, transparency, & unknowability using techniques of reflection, obscuring, & suspension of movement.
Linen, merino, & cotton are accented with cochineal, porcelain, & various earth pigments that highlight the texture & dimensionality of a pebbled knot or stitch, transforming a canvassed piece at large. Weaving, wrapping, & knotting are complimented by hand building with porcelain & stoneware to express my perception of the Mirage.
JOSHUA TREE, CALIFORNIA 2016
My Joshua Tree work relates the desert’s dryness, distinct palette, openness, transparency, & unknowability using techniques of reflection, obscuring, & suspension of movement. Attempts to reason about the defined but seemingly empty space are organically accomplished through the generation of a familiar grid.
I work sculpturally to capture a moment in time using active processes that become meditations, notably dyeing, weaving, wrapping, & painting. The repetition of these acts fosters a connection between the subconscious mind & the body, & these full body rhythmic movements allow my stream of consciousness to expand on certain conceptual ideas & develop more thoughtful conclusions. After spending a month in the desert near Joshua Tree, surrounded by cottontails & rattlesnakes, I’d like to experiment more with color & texture unique to this time & space.
BLÖNDUÓS, ICELAND, 2015
During my residency at the Icelandic Textile Centre, I created larger-than-life moveable sculptures, created on & off the loom, using local materials such as wool, N1 cotton threads, & foraged plant material. These large sculptural weavings interact with space both outside in the wilderness & inside the gallery walls & are supported by smaller, notebook sized, daily responses, embroidered, woven, & drawn, that reflected my learning & experience.
SAN FRANCISCO, CALIFORNIA 2014- 2017
My work is on the continuum of dialogue between the grid & its manifestations as form, content, & medium through threads, weaving, & painting. I utilize the power of the materials to construct architectural frames from which to build weighted objects in space, which can be examined in this body of work inspired by my California home.
Linen, merino, & cotton are accented with indigo, precious metals, & various pigments that highlight the texture & dimensionality of a pebbled knot or stitch & transform a canvassed piece at large.
SAVANNAH, GEORGIA 2012- 2014
Reticulation:: MFA Thesis
The grid is analyzed with both weaving & painting in relationship to artists Anni Albers, Agnes Martin, Sheila Hicks, & myself in the ways that the grid manifests between form, content, & medium through process, hand, & material. The work in my thesis exhibition, titled Reticulation, is described & explored as the culmination for my own thoughts & explorations.
NEW ORLEANS, LOUISIANA 2013
Experiencing the work reveals the materiality & inherent makeup of the natural fibers like wool, jute, & pine needles. The beauty of New Orleans culture & energy are highlighted in the color & hand of dipped merino tassels & dancing fringe. The visceral experience of the work conveys a message of beauty & form that exemplifies my interpretation of the grid.
LACOSTE, FRANCE 2013
During a two-month residency living in a Provençal medieval village, I studied, collected, & created a body of work utilizing French indigo, or woad, threads from the grocery store, & found natural objects. I respond to the inherent energy of the materials & how they interact & form my decisions, balancing the tension between my control & relinquishment of control through the process. These works come alive with the energy & bricolage aspect of foraging my materials around Provence.