Statement
Sewing, using silk and thread as materials, is my primary mode
of expression. The activity’s laborious and repetitive nature
is born of the craft of sewing, but it also references painting
and drawing. In investigating the potential of my materials and
re-purposing them, stitching has become more than a necessary
tool in binding and seaming the work; it has become a means of
creating a graphic line or making a piece more sculptural and
textured. I am interested in transforming space through the use
of intense color and the creation of a physical presence beyond
a flat 2-D surface. Thread is sewn onto the pieces, and often
lifts or hangs off the surface or even jumps off the piece onto
floor and wall space. Thread has taken over some of the works
as the subject rather than merely being a necessary construction
element. It is a process of accumulation and build up of mass
through repetition, order and chronic technique.
While
not a material part of the piece, light is critical to the works’
subtlety and impact on the viewer. The pieces are constructed
to allow light to pass through them, and the ambient light of
a space effects the translucent colors and their perceived saturation.
I also use gradations (small steps between hues) and layering
to create the perception of saturated color. Layering also creates
an optical mixture of color, and juxtaposing a range of colors
can create either harmony or visual vibrations, heightening the
viewer’s sensory perception. Using commercially available
rather than hand dyed silk, the works are actually collages arranged
from available color. Certainly, investigating color theory and
the interaction of color is the main function of the work, though
I also draw inspiration from surrounding landscapes. Unlike the
typical association of color theory being hard edged, the works
are organic rather than clean lined - as are patterns and forms
in nature. The work marries the imperfect quality of the handmade
with the sameness and regularity of machine stitching. I strive
to integrate hybrid ideas: straddling the fence between craft
and art, color theory and the rawness of an emotional response
to intense color, and reinterpreting formal minimalism in the
context of a feminine convention.
Bio
Exhibitions
2005 Introductions, Group Show, Pulliam Deffenbaugh, Portland,
OR
2005 Threadworks, Solo Show, Ampersand International Arts, San
Francisco, CA
2004 Common Thread, Group Show, Korean Cultural Center, Los Angeles,
CA
2004 Imbued, Group Show, Gallery at Thoreau Center, San Francisco,
CA
2004 Pulliam Deffenbaugh, Group Show, Portland, OR
2003 San Francisco Open Studios
2003 r o y g b p, Solo Show, Gallery 364 Hayes, San Francisco,
CA
2002 New Work, Dave’s Bar, San Francisco, CA
2002 San Francisco Open Studios
2001 Ceiling Installation, Upper Playground Gallery, San Francisco,
CA
2001 Window Installation, Build Community Art Space, San Francisco,
CA
1997 Senior Thesis, Art Center College of Design, Pasadena, CA
1997 Group Show, Art Center MFA Gallery, Pasadena, CA
1996 Group Show, Collaborative Performance, LA Arboretum, San
Marino, CA
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