I interpret the world through the motions of my hands. I obsessively draw patterns and compulsively create many versions of the same form in order to translate my emotions into objects and installations. Reflecting on my past experiences, I create a record of earlier emotions or record my current response to prior frustration and loss.
Much of my work begins by creating small forms that fit in the palm of my hand. I play with materials, making things that later become modular parts to be manipulated. My hands have become my tool for measurement, rather than just the tools for making because of their constant direct contact with the material. While I am making, it seems that my hands and the material make the creative decisions for me.
Some of my installations speak to my sense of isolation from others. Small similar objects form a sort of community, taking on different roles allowing for a dialog to ensue. Other pieces are fossils of memory or the leftovers of emotional dissection. Sometimes, I form cocoons for myself. Fabric becomes scale-like and strange or envelopes entire spaces in pink and lace.
I often work with plastic or throw-away materials but use techniques that are time-consuming and show the influence of the hand. I believe that I can only interpret the world through my experiences, and so I unapologetically work with colors, techniques and forms that have feminine connotations.
I am obsessed with the ability of fabric to breathe, as though it is a living organism. I manipulate, embellish, and repair it in an attempt to reanimate this damaged creature. I try to make magical places where slight breezes can transform the entire landscape or create environments that render the viewer speechless and lull them into a state of contentment. Ultimately, I seek fill the gaps and gashes of memory with beauty.