The Dune Climb
Digital Jacquard, cotton yarn, 2019
The House at the End of Monterey Drive
Digital Jacquard, cotton yarn, 2019
The 50 Ducks of Lake County
Digital Jacquard, cotton yarn, 2019
Horizon Lines from Edgewater
Synthetic indigo and MX reactive dyes, 10/2 cotton yarn, handwoven, 2016-2019
Kittery Cove
Inkjet transfer and Jacquard dye paint onto 10/2 cotton yarn, handwoven, 2016/2019
A Summer Roll
Inkjet transfer and Jacquard dye paint onto 10/2 cotton yarn, handwoven, 2016
The Geauga County Fair, 61' and 97'
Inkjet transfer onto 10/2 cotton yarn, handwoven, 2016
Interlude
Praxis Fiber Workshop Gallery, 2016
Praxis Fiber Workshop Gallery, 2016
Where We Meet
BFA Thesis Exhibition, Cleveland Institute of Art, 2015
BFA Thesis Exhibition, Cleveland Institute of Art, 2015
Where We Meet Statement, 2015
My process of making for the past two years has been working with photo heat transferring onto my weavings to create a woven pictorial scene. The imagery comes from found photographs of family and friends along with my personal photography that I scan and collage digitally. I tile one scene for a weaving onto 11” x 17” individual heat transfer sheets to physically collage the scene using an iron onto my cotton warp threads. Dye paint is applied on top if needed. My final steps are to weave the scene into a piece of cloth.
Physically weaving to make cloth is very important to my work. I am interested in the relationship between myself and the loom and its meditative qualities. Through passage of time and rhythm of repetition, this process brings a state of reverie that I seek to emulate in my work. I use cloth's rich history of storytelling and metaphors as ways to create; I use cloth making as a metaphor of making life. The weavings become a constructed, fantastical space where the figures and places can only exist together; through woven structures, a place s made for those to meet again. The blurred images and loss of information in the weavings are indications of the temporality of reverie, the vagueness of my memories and can be figures emerging out of the object itself to become present and physical.
In Where We Meet, there is a visual and physical lightness to the weavings where they become transparent and resemble screens that give thought to the screens of our minds. The video and sound components ground the viewer’s experience. Each is treated in similar ways to resemble the weaving’s qualities. The work is meant to be experiential; as an installation, these works become a haptic experience for the viewer. I encourage the act of looking and the time taken to do so. Narrative is open to interpretation, but I seek to cause a reflection on moments of longing with those important that we have either never had, wish we had, or regret not having.
My process of making for the past two years has been working with photo heat transferring onto my weavings to create a woven pictorial scene. The imagery comes from found photographs of family and friends along with my personal photography that I scan and collage digitally. I tile one scene for a weaving onto 11” x 17” individual heat transfer sheets to physically collage the scene using an iron onto my cotton warp threads. Dye paint is applied on top if needed. My final steps are to weave the scene into a piece of cloth.
Physically weaving to make cloth is very important to my work. I am interested in the relationship between myself and the loom and its meditative qualities. Through passage of time and rhythm of repetition, this process brings a state of reverie that I seek to emulate in my work. I use cloth's rich history of storytelling and metaphors as ways to create; I use cloth making as a metaphor of making life. The weavings become a constructed, fantastical space where the figures and places can only exist together; through woven structures, a place s made for those to meet again. The blurred images and loss of information in the weavings are indications of the temporality of reverie, the vagueness of my memories and can be figures emerging out of the object itself to become present and physical.
In Where We Meet, there is a visual and physical lightness to the weavings where they become transparent and resemble screens that give thought to the screens of our minds. The video and sound components ground the viewer’s experience. Each is treated in similar ways to resemble the weaving’s qualities. The work is meant to be experiential; as an installation, these works become a haptic experience for the viewer. I encourage the act of looking and the time taken to do so. Narrative is open to interpretation, but I seek to cause a reflection on moments of longing with those important that we have either never had, wish we had, or regret not having.
