As a child I had a large round mirror on the wall of my bedroom. I used to take it down and hold it at my waist, walking around the house looking into the reflection, stepping high over the doorframes, marveling at how different my familiar landscape had become.
I make objects for the body in order to transform the world and how we perceive the world. As mediated experience due to the rise of technology has prevailed I am interested in the function of the object against the growth of depersonalization. Objects have the ability to cultivate intimate relationships and provide self-awareness through encounter.
Fabricating for the body, I use recognizable forms and particular craftsmanship in order to lend the pieces authority as functional objects. The forms that I choose are drawn from personal but familiar sources: my grandmother’s circa 1930’s hat collection, Amish bonnets from my childhood trips to the farmer’s market, the colors of a Brahmin town visited in India. Through the use of humor, meticulous detail and ambiguous function I coax my audience to investigate closer, closing the physical gap between viewer and object. In this way I want the details of my workmanship to act as a whisper, flirtatiously seductive in its discretion.
My most recent explorations have a focus on communication and relationships. This work is a humorous investigation of actual, metaphorical and poetic means of building connections between peoples. I am exploring methods of communication and the navigation of the spaces, both physical and mental, that we inhabit. I am intrigued with creating new ways of seeing, hearing and participating with our surroundings. By disrupting or enhancing the senses, my props make possible an exaggerated self-awareness, a break in the normalcy of daily experience. With the body dressings I am creating a threshold space between reality and the imagination. This work is a social experiment of sorts, a mediated event to explore communication, comfort and complacency through play.