Being a human is so silly! Why are we hairy? And gooey? And holey? Why do we feel so much? Why are we even here? Why are you here right now? Through my practice, I aim to create a body of work that revels in the discomfort of inhabiting a physical form and finds joy in the grotesque and confusing aspects of life.
I employ techniques rooted in crafts that have been practiced by humans for millennia including felting which is one of the oldest known ways of creating textiles and originates from the Neolithic era, and quilting which has a rich history as both a decorative and functional artform. Through these methods, I engage in a dialogue across time and culture with people who are trying to survive and find comfort. The connection to life is deepened by my deliberate use of natural dyes, fibers, and second-hand items. The signs of use and age such as dents, tears, and stains from flowers, food, blood, and iron narrate the object's lived experiences. By using these items I am honoring their past lives and embedding them with a new narrative.
The sculptural forms are heavily influenced by vases and other vessels that reference the human body. I distort the vessels by crafting them from soft materials, adding extra holes, and skewing their proportions. These acts morph them into frivolous objects whose main intent is to create delight and curiosity. The scale of these sculptures reflects animals and small humans and is meant to confront and invite people to approach for further interaction. Speech bubbles are used to further guide the viewer to look into objects, hug them, and sit on them. By having the sculptures state their needs I hope that this will deepen the level of empathy felt towards them.
My approach to creating art is shaped by my anxiety and neurodivergent urge to work within systems. I find comfort within the rhythmic and repetitive patterns of quilting, felting, and crocheting, and they provide the foundational guidelines for my creative process. I choose to subvert these systems as an act of conscious control while simultaneously welcoming serendipitous occurrences of the making process. This leads to objects that embrace the materials’ qualities such as wrinkles and holes which are sometimes seen as unwanted blemishes. I use these imperfect surfaces to conjure connections to viscera and skin and deepen the relationship between the viewer’s body and the sculptures.
My art practice is also impacted by my experience with chronic pain which challenges me to be gentle with myself and shift the ways in which I create. There is a constant communication between self and material which grounds me within the tactile processes and helps shape the final sculpture. I work incrementally, often taking breaks to assess what the object is becoming and how my body is responding to what I am doing at that moment. Thankfully many fiber processes lend themselves to being done while sitting and allow me to work at a larger scale without having to worry about the weight of the object being more than I can manage. In some ways, the sculptures exist as self-portraiture; they examine my present state of being, project it outside of myself, and intermingle with references to material culture so that they are no longer me but rather distorted reflections.
I find connections between my work and the Fluxus and Arte Povera movements which explored the use of unconventional methods and materials and highlighted art’s importance outside of traditional galleries and museum spaces. I am also deeply inspired by the work of Louise Bourgeois, Lee Bontecou, and Lynda Benglis in their varied forms, material use, and the way they sort through understanding the beauty and ugliness that exists in our world.
For my BFA, I will create an immersive installation that exists somewhere between a domestic environment and an imaginary landscape. The space will feature a “conversation pit” with soft sit-able sculptures where viewers can recline, relax, eat snacks, and talk amongst each other. This tactile engagement is designed to promote a deeper connection to the art and the embodied experiences of it. I firmly believe that art is an innate expression of love that is meant to be shared, and I hope that people will feel welcome to engage with the work and experience a moment of joy and whimsy that can be carried and extended to others.
