The transitory and fragile nature of life, its pairing of beauty and cruelty— this paradox compels me to engage with the world visually. I create installations and objects that allude to the comforts of home, that reveal its myriad contradictions and conflicts, its tenderness, bewilderments and humor. The outside world compels us to create refuge, but that refuge, despite it’s comforts, is porous and unstable.
My installations may evoke the banality of waiting rooms and furniture showrooms or the mythic intimacy of historic house museums; they are inspired by DIY TV shows and home decorating magazines- stages for invented controlled worlds. My work responds to and recreates the environments and objects we surround ourselves with in our relentless quest for permanence. Compulsive process and obsessive repetition are part of what makes me tick. Meditative and revelatory, I am fascinated by how things are made and how taking them apart reveals hidden worlds and the ingenuity of the human imagination.
The life of the studio is inextricably bound to my daily life. A current project, Maximum Security, came about when an image of a quilt in a newspaper article turned out to be an aerial view of Guantanamo prison. From this disquieting discovery, I learned the modular patterning in prison design shares a great deal with quilts’ formal qualities and geometric construction. Quilts immediately bring to mind ideas of home, comfort, and security. As heirlooms they carry narratives that are otherwise forgotten. Bringing these seemingly polarized forms together allows me to highlight the costs borne by societies deeply invested in surveillance and incarceration. In my newest works I disassemble the braided rugs common in old houses. These resourceful rugs, made from moth-eaten coats and blankets, reveal the tread of humanity across time, going about their daily lives.