Using autobiographical disasters as the narrative point of departure, my work operates as a social and cultural critique. These works address issues of intimacy, isolation, frustration, anger, and repression. They are reactionary in nature, as if the prefrontal cortex shuts down and everything you know you shouldn’t say comes spewing out. The compulsive elements of these works are a manifestation of anxiety and depression, which are often overwhelming in my own life and catalyzed by external events.
Through a fundamental need to communicate, these works are cathartic in the making. Presenting veiled structures desiring to be enveloped by love, set at a distance, acknowledges the vulnerabilities in an attempt to dissolve barriers creating real meaningful connections. By employing humor as a mechanism to excavate the deep-seated pain to the surface, I am reclaiming power over these emotions. It also gives entry for the viewer, making difficult conversations more palatable. The use of craft materials such as yarn, fabric, and glitter challenges hierarchical Western notions of painting while tapping into a playful sentimentality.
The three main elements at play are color, pattern, and texture. I am either creating a pattern through various weaving techniques of knitting, crochet, and most recently needle tatting –or– I am utilizing found patterned fabrics, preferring old remnants and scraps from the discarded projects of others. The recycling of these fabrics set up both a limitation to work around and carryover their former histories. I am also calling upon the rich history of feminist art with a penchant for textiles. This comes with an awareness of the past and hopes of bringing about a more inclusive, intersectional feminism. For me, empathy is essential as we spark these dialogues, bridging the gap between others' lived experiences.