Exploring issues of representation has been the focal point of my fine artwork. Through inspecting the experience of living inside of my own body–its history, the sensations, the emotions–I consider collections of common objects as they relate to external factors of gender, biology, and western culture.
My practice centers around connecting with the viewer through materiality, form, and abstraction. I am influenced by a long history of textile artists, working to articulate the experience of living inside the female body through abject materiality and traditional craft.
Body Language, 2019
Body Language is a sculptural installation composed of natural and synthetic materials: recycled textiles, foam, wood, plastic—anything that can be broken apart and reassembled into an object of the body. These sculptures engage with the wall and the floor, manipulating the movement of the viewer’s body in space and time.
Through materiality and gesture, I investigate human relationships using fabric that folds over to create a wrinkle, or bursts at the seams when stuffed too tightly. The surfaces are reminiscent of skin, the interiority of the body, the culmination of biological parts that make up a whole.
These objects investigate a human relationship with repulsion as a way of bringing attention to societal conditioning. It’s that feeling in the pit of your stomach when you’re faced with your own mortality. In its essence, it is the fear of the unknown, this visceral response which relates to the ultimate unknown: the end of the life cycle.
In this body of work, I find inspiration in medical scans as a way of understanding these unknown parts of myself. This installation derives from various sonograms which act as both reminders of mortality and objects which question issues of representing the female body.
Study is Otherwise Unremarkable, 2018
Study is Otherwise Unremarkable explores the abstraction of the human body using ultrasounds as the subject matter. Through medical imaging, the complicated social structures surrounding the body are simplified. When comparing the photographic image of the body to the sonographic image, one is full of meaning and the other performs a function. There is beauty in something that exists for function and does not have to be anything more than what it presents itself to be.
This body of work considers the act of gazing at a sonogram and how it relates to minimalist abstraction, in that there is a hint of what the image might derive from, but the source “image” is diluted in a series of material choices and gestures.
The Large Intestine
The Large Intestine Project explores the spectrum between beauty and disgust as a way of bringing attention to the body as a purely biological object.
By providing a space where the human body is considered as organic matter, issues of representation are called into question. Through this process, the viewer is invited to question their understanding of gender and societal conditioning, and consider their own body as it relates to the world around them.