My work is a meditation on pattern. Pattern resists narrative and privileges the visual. I embrace this condition and, referencing pattern’s traditional function as ornament, the ability of the visual experience to “transport” the viewer.
I am engaged with making objects. Small in scale, crafted with precision and in slow time, likewise their viewing requires intimacy, solicits exactitude of observation and is intended to be slow. Their making is methodical yet involves improvisation, echoing how pattern is often ordered unruliness.
Forms (organisms) conceived through automatic drawing in pen and ink are translated into other media and continuously manipulated further. Via this process I have explored the delicate nature of what constitutes pattern. Their most recurrent incarnations: the fabric/paper constructions whose off-cuts in turn spawn new forms as collage works on paper.
Housed in boxes, which must be opened, an intimate space of meditative or contemplative interaction is implied. Although they are not containers of memory for the viewer, via this process of engagement, they aspire to evoke the notion of the memory inherent in material things. And further, how material of its own accord can elicit memory.
I am interested in how objects are ascribed with meaning and concerned with collecting both as a context for and a practice in my work. I assemble collections of found objects. The activity of collecting bestows a certain quality, elevating or embellishing an object in the same way pattern does as ornament.
The ideal context for my work would be the early cabinets of curiosities, collections where no hierarchy prevailed in the organizing principal; rather, like pattern, it was the visual and transportive experience which was valued.