Plied Bodies

Dodecaweave

The only thing I think I know for sure

Rescue/Recovery

What I mean to say is

Plied Bodies
2019

Glazed and unglazed earthenware and stoneware, wool, cotton, ceramic slip the artist's hair, MDF, paint, video projection, iPad with video

Dodecaweave for all time
2018

Cotton, handwoven on AVL Dobby loom

Weaving is a technically binary structure: a warp thread can be either raised or lowered. When drafted, woven structure is drawn as a binary grid. Woven in multiple layers, weaving maintains its inherent binary nature but takes on a new physical dimensionality. My work on this twelve-layer cloth investigates the the material possibility of something that is physically multi-layered and structurally binary. Through woven layers, folds, and waves I ask how this transformative material could serve as metaphor for reconsidering other seemingly fixed social, political, and economic structures such as nationality, political systems, gender, and educational institutions. Can these works be models for creatively reimagining our presents and futures?

(45.544728, -73.632496)
2017

Handwoven cotton, maple, sound

In (45.544728, -73.632496) I translate time series data for the sunrise and sunset times in the city of Montreal between June 30th 2017 and April 30th 2018 into weaving and sound. Handwoven using a double-cloth pick-up technique, the field of light-colored thread suggests the totality of sunlight for the given time-frame and the dark is the sum of non-sun. The accompanying sound piece translates the same data set into a tonal sound work. The tones of sunrise and sunset times are played simultaneously, creating an oscillating scale that shifts slowly throughout the duration of the work.

(45.544728, -73.632496) and
The only thing I think I know for sure
2017

Installation view from Ignition 14 at Galerie Leonard & Bina Ellen

Photos courtesy of Galerie Leonard & Bina Ellen

The only thing I think I know for sure
2017

Colored pencil and ink on graph paper in walnut frames

The only thing I think I know for sure tracks the sunrise and sunset times in four places I've called home: Bloomington, MN, Chicago IL, Brooklyn NY, and currently Montreal QC. Through these drawings, I attempted to locate myself by comparing a seemingly constant factor: the rise and fall of the sun. In an uncertain political climate worldwide, this work is also a desperate and futile attempt to find a stable condition as a source for hope. This investigation has opened up broader questions for me about place, home, affect, imagined futures, systems of time, and patterns of movement on a personal and global scale.