I have an innate desire to visually record moments in time. This impulse manifested first as figurative drawings and paintings. Today, instead of recording literal moments, my work more often references something happening internally, its roots in the thoughts that occupy me daily as opposed to scenes positioned before my eyes. The external has also become a source, as I explore and highlight social or cultural phenomena through artmaking. While working mimetically remains an important part of my practice, much of my art has moved toward abstraction. The physicality of the body remains an important factor in my current work, although it may only be suggested.
The contemporary revitalization of craft media – particularly crochet, which has been traditionally practiced by women in the home – has influenced me to engage in a more craft- or textile-based approach. Crochet stirs memories of time spent in quiet moments with family and friends, and references a history of service and gift-giving. Textiles indicate clothing, invite touching, and imply protection and warmth. The action of crochet is also metaphorical – many loops suggest a community of individuals who, together, make a whole. Repetitive, tedious action leaves a record of invested time and labor.
Working in crochet has allowed me to move out from the wall, away from illusionistic space and into actual space. Formal arrangements of everyday objects or materials bring to mind the stuff of the real world; taken out of context, they begin to transform, conveying meaning beyond their function. Not only is my art made from commonplace things, I create it in my home, a fundamentally domestic space. Working surrounded by the effects of daily activity, my life and art become inseparable. Although some pieces are three-dimensional, I continue to pull from my drawing and painting background. Colored yarn replaces paint; string is a twisting, looping line, connecting back to a history of artists and craftspeople, as well as to my own creative beginnings.