The first time I remember making in the same way I do now it was in my backyard on the outskirts of town when I was a small child. I would attempt to weave crabgrass, native grasses and crop grasses, dried plants from my mothers garden and twine or other materials leftover from construction. I still work in this intuitive and experimental way with often natural materials and utility twine.
I work primarily in soft sculpture and weaving. My soft sculpture works have taken the form of large-scale macrame with details made from clay. Weaving has taken the form of wall hangings made from utility materials with embroideries of hands interacting with the weave. Conceptually my work revolves around the sensory relationship between myself and my materials. My hope is that by exploring this in my works the audience will take a second look at their own relationship with touch and their own sense of proprioception.
In my work I use the texture of fibre as the surface design. The knots and thread create the surface design and also compose the physicality of the objects I make. I consider fibre in a way that compares thread to Drawing's line and the knot to Drawing's mark or point. This direct connection to the path that the artists hand follows and what the audience experiences sensationally is what leads me to want to explore touch as the main connection between myself and my audience.
Body Works Installation
Here I have installed recent works all together to provide a better sense of what these works are like in person.
Works in this collection are recent macrame works made from abaca rope with clay beads. They explore my relationship with touch as it pertains to the process of making as well as well as ideas around proprioception.
This work depicts the body in abstract. The ceramic hand beads might bring the viewers the sense of what it was like to make this work and thus able to put themselves into the direct haptic experience of the artist. The ceramic hands also create a sort of ghost of the artists presence, a hint of the labour their body used to create.
This work brings the artists body and hand to the forefront while also trying to get the audience to have a haptic experience when viewing this work. The thickness and roughness of the rope might bring sensation to the viewers hand.
The works in this collection are recent weavings made from jute, sisal and cotton twine. They explore my relationship with touch as it pertains to the process of making as well as well as ideas around proprioception.
Working with textured, weightier and familiar materials is a way to bring the audience into the sensation of work, in particular through the sensation of touch. This work brings the artists body and hand to the forefront while also trying to get the audience to have a haptic experience when viewing this work. The repeated hand imagery and roughness of the rope might bring sensation to the viewers hand.
I used overshot technique to achieve a form of tapestry. I used overshot rather than a more complicated way of weaving so that the audience can easily trace how this image was built into the weaving. I think showing the body rather than hands moves us away from small forms of touch and moves this work into the realm of whole body feeling, proprioception and where the body exists in space.