Using issues surrounding gender inequality as my point of departure, I create work that conveys the burdens and conflicts with clear and economical means. My work is informed by history, culture, the passage of time, and the poetry of daily life.
Emerging from a lineage of women who engaged in an array of ‘women’s work’, I employ repetition, pattern, and the grid to create sculptures, installations and drawings that function as an archeology of personal experience. The historical significance of the grid and its place in quilting and high modernism (craft and art) is a reoccurring motif in my work. Craft is relegated to a utilitarian function or women’s work, while art is given a higher value. My use of the grid challenges this notion by honoring the imperfections of my slow, deliberate process and deifying the implied perfection and logic of the underlying structure. Organized in series, the work is sensual, subtle, and political in any combination.
My material choices run a breadth from collected artifacts to mass-produced goods all associated with familial dwellings. These materials transcend their perceived function by their placement and application. Seemingly frivolous materials are often intentionally positioned for intimate, careful consideration. By transforming ordinary items into ephemeral experiences, I’m observing the nebulous line between domesticity (craft) and culture (art), a line that could also be decoded as facilitating gender inequality.
As a woman making work in the context of third wave feminism, I intentionally place my work on the murky line between craft and art.