Spandex, polypill, recycled fibers, alpaca roving
3′ x 4′
For the past four years I have been involved in the creation of a body of work that is an amalgam of sculpture and photography. My process is intuitive and based on an economy of material, using the discarded, such as remnants from fabric bins, textile waste, salvage from weaving facilities, garbage from the street and natural waste found in my surroundings. I hoard this detritus as creative material to transform from the ordinary, conventional and mundane into inventive works of art. It is not only a repurposing of material but an exploration of the meaning of material, its appearance of entropy, the temporal and the ephemeral. I assemble the material using the process of “women’s work,” weaving, sewing, twisting, unraveling, but not in the traditional sense, but as an act of resistance to the traditional, how it is perceived as women’s handicraft. I like the work to appear to be in a state of in-betweens— finished and incomplete; sophisticated and primitive; ugly and beautiful; unique and familiar, cherished and forgotten.
Lately I have been experimenting with polymorphous materials (combining plaster with textiles and wax, paper mache, clay, metals), to further articulate that which is contained within the ugly and discarded, and to suggest a more sensual, tactical and reflective relationship to the object. These “soft” sculptures appear familiar in their infantilism, like perverted stuffed animals. They pull from binds of anatomy and the accumulative nature of things, the synthetic and the organic. I accentuate my pieces individually as both inanimate, and living; my process, or – imagination, as the resuscitent. I see my work as part of a larger dialogue that I would like to actively participate in, and as a continuation of a sculptural investigation started by artists such as Lynda Benglis, Eva Hesse, and other “Anti-Illusion: Procedures/Materials” artists; the work of Louise Bourgeois and Magdalena Abakanowicz; and more contemporary artists like Jessica Stockholder, Karla Black, and Sarah Sze, to name a few influences. I particularly like the work of Polish artist Alina Szapocznikow, and would like my work, like hers, become more idiosyncratic and culturally resonant.
My background as a graphic designer has influenced my process, starting with how I frame my “discoveries” in camera and then use the photographs as a bridge to the sculpture. Before the sculpture, I maintained a blog called laundrytwentyfourseven, now an Instagram account, as an attempt to re-contextualize the rejected and disposed in order to allow the material to transcend itself from an object replete with a sense of loathing and obsolescence into one of beauty or desire or somewhere in-between. I photographed piles of dirty laundry in my home, and now am photographing outdoor covered items (such as motorcycles and cars) that protect them from nature.