dimensions variable
16 feet width x 18 feet length
Hand dyed cotton bedsheets, cotton, wool felt, silk flowers, pigment, and mixed media
2018
——————————————
Constructed and woven from fiber, hand dyed bedsheets, flowers, and found objects, One Hundred Blossoms and the Sweetest Scent blends themes embedded in the folk tale of Little Red Riding Hood and the Greek myth of Persephone. Although different stories, there are numerous similarities between them. Both girls in these two different tales were picking flowers and both were described as being abducted. Both stories are often referred to as seasonal myths, and an allegory of opposite forces.
This sculpture references my fascination with and reverence to the natural world, folk lore narratives and mythology, and contemporary notions of feminine domesticity, spiritual yearning and sexual identity.
These are familiar stories that are then fragmented and conflated with one another to form new clusters of meaning and association.
It brings together archetypical opposites, through which it explores the boundaries of culture and the role of storytelling, and especially, what it means to be a man or a woman. The girl and wolf inhabit a place, call it the forest or call it the human psyche, where the spectrum of human stories converge and where their social and cultural meanings have evolved and have changed with time.
18 feet x 12 feet x 10 feet
cotton bedsheets, nylon, cement, plaster, paper yarn, bones, sisal, wool, cotton rope and mixed media
November 2019
at the TEMPORARY ART CENTER
PROJECT exhibit
curated by Scott Ingram
The work of 28 artists exhibited in a warehouse space consisting of 66,000 square feet in the former Conklin Metal Building slated for demolition in early 2020.
This installation was activated by the idea of gwisin. Gwisin in Korean folklore are female ghosts that inhabit abandoned buildings. These spirits inhabit these spaces until she completes a task left undone while she lived.
I think of this as an elegy of sorts...for the places in Atlanta that will no longer exist as the landscape here constantly changes.
4 feet width x 9 feet height
silk organza, wool felt, silk thread, and acid dye
2016
—————-
Hadeland Glassverk AS
Jevnaker, Norway
16 feet long x 18 inches tall
Horsehair, wool felt, thread, and acid dye
2017
——————-
Nature's first green is gold
Her hardest hue to hold.
Her early leaf's a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.
- Robert Frost
Entanglement II
72 x 84 x 6 inches
wool felt, handspun yarn, cotton, wood, pigment and dye
2019
———————
In quantum physics, entangled particles remain connected so that actions performed on one affect the other, even when separated by great distances. The phenomenon so riled Albert Einstein he called it "spooky action at a distance.”
Entanglements, both physical and emotional between two people can have the same reverberations.
Entanglement I
9 feet width x 10 feet height
wool felt, cotton rope, vine, and pigment
2018
—————————————
I believe that silence takes shape and form.
Is silence an absence or a presence?
Is it a positive space or a negative space?
Silence is still and yet it can be the loudest sound of all.
It can center us on the present and it can also take us far away from it.
The most intense yearning or mourning can happen during this most mysterious of the untouchable.
Is silence calming or does it inspire unease?
Is it nothing or something?
Empty or full?
If I were to create a work about silence should it be a blank wall or full of texture?