I spent my childhood in fabric stores with my mother and watched her work both as a sculptor and at the sewing machine. In fabric stores, I loved the familiar smell, the muffled sounds and the intimacy of closely examining the woven and printed cloth in an environment where I could explore. My mothers button box was magical as were our yearly forays into my Grandmothers linen chest. I never lost interest in holding the family textiles and enjoyed poring over the precise crochet, bobbin lace and embroidery. I understood at a young age that textiles were woven into the history of the women in my family.
When I entered the inaugural crafts program at the Parsons School of Design, I spent the better part of my undergraduate years learning textile processes and making studies. I wove, coiled, netted, knotted, dyed, printed and felted my way on a path to the realization that I both enjoyed mixing media and the additive art making process. In graduate school I continued to explore both directions.
I am often told that the layers in my work, created out of extruded, pigmented medium, look like yarn or crochet. Using formal understructures, and complex color, I make abstract paintings that juxtapose minimal imagery with complicated surfaces, that are only evident up close. The layers visually connect and expose glimmers of their underlife, creating a density that give a separate life at the edges of the work. My studio process is intimate, slow and completely time-based. My “timescapes” ask viewers to pause, observe and bring their own interpretations to the work.