I create work that poetically comments on issues of gender inequality. Using this topic as my point of departure, I convey the burdens and conflicts with clear and economical means.

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 political and physical archaeology of personal experience. I chronicle my path straddling the arenas of domesticity and society. My materials choices run a breadth from collected artifacts to mass-produced goods all associated with familial dwellings. Using simple materials and engaging with elements of the everyday, my work is informed by history, culture, the passage of time, and the poetry of daily life.

I juxtapose permanence with temporal. Seemingly frivolous materials are intentional positioned for intimate, careful consideration. My process of making is slow, deliberate, and connects my thoughts to the physical world. Transforming these materials into ephemeral experiences, I allow the imperfections of my labor-intensive processes to animate the work. Subtle, non-representational, and systematic, my chosen materials transcend their perceived function through placement and application. Organized in series, the work is sensual, subtle, and political in any combination.

The historical significance of the grid and its place in quilting and high modernism (craft and art) is a reappearing theme in my work. Craft is relegated to a utilitarian function or women’s work, while art is given a higher value. The order of a grid allows the imperfections of my actions to be noticed and deify the implied perfection and logic of the underlying structure.

As a woman making work in the context of third wave feminism, I intentionally place my work on the line between craft and art.