My sculptures are an interface between pattern making, surface and form. I use labor-intensive sewing construction processes to explore the nature of craft via industrious methods. For a long time now I have been interested in vinyl, not only for its materiality and sculptural qualities, but also the way this textile signifies a culture of wealth and excess. While I find inspiration in the inherent qualities of vinyl, I also recognize that it is a petroleum product made from oil and considered to be highly utilitarian and innately lowbrow.
My work is essentially an act of time and patience that exists in opposition to the speed of consumer society and the disposability of textiles. Each sculpture incorporates vinyl found through clearance sales and scavenging with highly laborious and methodical sewing techniques in order to create tension, texture, and history into the mechanical and industrious fabric.
Continuous, hundred-feet long zippers have also been a structural focus of my work. Working with long flat surfaces that then engross a form through the use of a singular zipper fuses engineered design with the intuitive and the mechanical. The zipper in each sculpture quite literally gives shape to the object while also harnessing a tension and energy within it. The teeth that hold the skins together, like the thousands of tiny stitches in each piece, become the minutia of containment. Each piece of thread is a wound filament engineered with a certain tensile strength; each stitch and connected zipper tooth work at maximum capacities to elicit form.
The zipper alludes not only to tension, but also to ubiquitous, overlooked machinery. The body or skin functions so that my sculptures exist not only three-dimensionally but also as flat maps of space. This mode of working resonates with my background in clothing construction and pattern making, and also explores the nature of objecthood and embodiment.
Living in Wyoming for the last seven years has greatly influenced the scale and visual vocabulary of my work. I am drawn to the rural sublime and the ways in which geological space and natural beauty affects my sense of self. While some of my works addresses the landscape directly through form or political topic, I am most interested in making objects that transcend a specific sense of place and evoke a relationship between the natural and synthetic, 2D and 3D, craft and production.