For over a decade, I have been engaged with an ongoing body that continues to investigate textile and hand processes, simple physics (gravity, tension and suspension) and elemental materials (fiber, water, metal, earth and air) to make objects that influence our connections to space, place and time.  These sculptures embrace traditionally “domestic” and gender-specific techniques, like crochet and blacksmithing.  In their construction, I intentionally choose materials and objects that introduce physical components with specific aesthetics and histories of their own.  These in turn inform not only the conceptual basis of my work, but also my choices about scale, technique, pattern, and other more formal aspects of art making.  In addition to found wood, metal and industrial objects, the recent work includes sustainable fibers, earth pigments and clays, and natural mineral patinas. 

My conceptual approach to this object making engages me in a continually evolving dialogue with feminism, popular culture, personal history and identity.  Through the work, I challenge notions about balance, power, accommodation and relationships.  Central to my approach is the exploration of how the transcendental possibilities of repetitive processes lead to and influence creative experiences.  These sculptures also speak about the history of craft in their attention to detail and their thinking-through-making sensibilities. 

My investigations have resulted in the making of unconventional implements that suggest multiple uses, both past and present.  Reminiscent of things that might be used to catch, strain, sift, or filter, the works become corporal, yet abstract, metaphors for what remains and is essential, individually or collectively, and what escapes or dissipates and is no longer relevant.  They are evidence of how structural and material explorations can simultaneously accommodate and transform both the physical substance and intangible essence of my work.